Why We Still Yearn for Pride and Prejudice

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2005’s film adaptation of “Pride & Prejudice” by Joe Wright, now back in cinemas for its 20th anniversary, has gracefully matured over time. This timeless classic is a must-see once again, as it showcases both the ways it has evolved and the elements that remain untouched. In the early 2000s, this film stood out from typical Jane Austen adaptations due to its stormy intensity and contemporary feel. However, this interpretation wasn’t entirely reflective of the author’s original work, which has maintained its relevance for centuries through its strong, unconventional heroines and insightful commentary on class and status. Notably, other Austen adaptations from that era, such as Ang Lee’s “Sense and Sensibility” (1995) and Roger Michell’s “Persuasion,” were exceptional in their own right. Yet, Wright and screenwriter Deborah Moggach skillfully breathed new life into the novel, capturing its youthful energy in an unexpected yet authentic way.

In 2022, Wright shared with me his perspective on the film he was working on, emphasizing that it was penned by a young author who was blossoming in their abilities during the writing process, giving it a fresh, youthful feel. He stressed the importance of focusing on youth and maintaining that lively spirit throughout the production. Interestingly, the lead actress, Keira Knightley, was 18 when cast and 20 at the film’s release, while her younger sister characters, including Carey Mulligan in her debut role, were similarly aged. The actor portraying Darcy, Matthew MacFadyen, was in his late twenties and captured the awkward, youthful demeanor fitting for this adaptation’s interpretation of the suave yet distant gentleman who falls for Elizabeth.

In the original novel, the wealthy and proud Darcy’s aloofness hinted at his doubts about associating with those of lower social standing. In Wright’s film, the character’s reserve stems from shyness, given the need to condense their relationship development within a shorter narrative. Here, Elizabeth and Darcy’s attraction emerges swiftly, although they may not fully recognize it; their mutual feelings are expressed subtly through eye contact, gestures, and emotional nuances over the course of two hours, creating an authentic portrayal of budding desire, fear, and sadness.

In this film, Wright consistently keeps his camera moving and positioned at eye-level, focusing primarily on characters and their actions. Unlike many period dramas, it lacks the grand, sweeping perspectives that give an all-encompassing view. Instead, “Pride & Prejudice” offers a series of engaging images, including some truly stunning landscapes and magnificent estates. However, what makes this film exceptional is its immersive quality – it feels as though we are observing the events alongside the characters. By the climax, when Darcy appears through the fog, seeming like a mysterious figure determinedly striding towards Elizabeth, we’re not just watching a story unfold; we’ve been drawn into our heroine’s thoughts and emotions.

In this film, Wright skillfully combines elements of realism with a powerful emotional pull through his cinematic techniques. It’s no surprise that he’s drawn to Italian cinema, given his last two productions were made there. The visual grandeur of Pride & Prejudice is complemented by mud, fog, sweat, and rain, creating a raw, natural environment for the characters. Their emotions are as wild as the animals, adding an immediate intensity to their interactions. Hens scamper about the Bennett household; the family’s attire appears worn, sometimes even soiled; the homes are cluttered, the people messy, their dynamics chaotic. Yet, the film never feels dreary or gloomy. The girls’ energy, in all its exuberance and occasional silliness, is always evident.

The screen pulsates with energy as various scenes unfold. Given his early career in techno raves, Wright infuses the dance sequences with a blend of club ambiance and tribal ceremonies. Humanity’s crush intrudes upon personal stories. Long, invigorating shots guide viewers through these crowds, emphasizing the interconnectedness of this society. At a party, the camera captures Elizabeth’s slightly eccentric mother (Brenda Blethyn) stumbling through the crowd while enjoying dessert. She accidentally spills some food onto a guest’s jacket, apologizes briefly, and moves on cheerfully. This seemingly trivial moment carries a poignant weight: Mrs. Bennet is under the impression that her eldest daughter, Jane (Rosamund Pike), has found a wealthy suitor, and we feel the relaxed happiness of this simple woman. Yet, we also witness the mistake, realizing that in this world, everyone is connected in some fashion, where rumors and judgment spread swiftly, and a clumsy blunder by one mother could potentially impact her daughter’s romantic destiny. Later, an outdoor tracking shot at night glides from window to window, revealing the parents, sisters, and a maid ascending stairs within the Bennet household. The film teems with vitality, and every character seems to possess their own life. Moreover, the fact that they are all connected in subtle ways is both breathtakingly beautiful and unnervingly terrifying.

Instead of drowning out humanity’s clamor with solitude that stands out more vividly in contrast, Wright cleverly presents brief instances of solitude that resonate stronger due to the surrounding chaos. Just before Darcy and Elizabeth take their first dance together, we witness her engaged in a lively conversation with her cousin, the snobbish and status-conscious clergyman Mr. Collins (Tom Hollander). Their dialogue is punctuated by dance moves and people entering the frame. As Elizabeth starts dancing with Darcy, the camera follows their movements more intimately and seamlessly, mirroring their growing focus on each other. The rest of the cast fades away, leaving only the two of them in the spotlight. This scene could have appeared cheesy if not for Wright’s masterful use of a bustling backdrop beforehand. In a scene that has become iconic in the film, Darcy assists Elizabeth into a carriage by taking her ungloved hand. As he departs, we see a close-up of him flexing his fingers, savoring their fleeting contact. This subtle moment carries an immense emotional weight due to the film’s overall busyness.

The craze for all things Austen, which emerged in the mid-1990s, has persisted unabated till now. This fervor is evident in numerous adaptations, reinterpretations, and TV shows that span up to the present day. For instance, Laura Piani’s contemporary romance novel “Jane Austen Wrecked My Life” premiered last year on the festival circuit and will hit theaters next month. However, Pride and Prejudice (Wright’s 2005 film) remains remarkable for its ability to encapsulate the book’s contemporary relevance without distorting or modernizing the narrative (unlike Amy Heckerling’s charmingly delightful Clueless, which does transpose Austen into a modern setting). Despite being popular among young audiences, it didn’t feel the need to reimagine anything. Instead, it breathed new life into Austen by staying faithful to her original work.

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2025-04-18 22:56