In the 2005 movie version of “Pride and Prejudice,” the main romance between Elizabeth and Darcy begins at a lively, spirited ball. This scene is filled with casual dancing and secretive comments about the guests.
As a dedicated cinephile, one of my all-time favorite scenes is undoubtedly the first community dance from director Joe Wright’s debut feature. Recently, I had the pleasure of revisiting this movie, and I couldn’t be prouder to say that it’s back in theaters this weekend, as Focus Features celebrates its 20th anniversary. This particular scene, with its infectious energy, raw vitality, chaotic messiness, and overwhelming joy, still resonates deeply with me. In a recent interview with EbMaster, Wright shared his feelings about it, saying, “I’m very proud of that dance scene.
As I settled into my seat, my eyes were immediately drawn to a man – the one with the inquisitive brow – none other than Mr. Darcy, played by Matthew Macfadyen. In this opening scene, I was quickly introduced to Elizabeth, portrayed brilliantly by Keira Knightley. It’s here that we get a glimpse of her sharp intellect and quick wit, as she overhears Darcy making derogatory comments about her appearance. Later in the film, when these two cross paths again, Elizabeth doesn’t shy away from expressing her displeasure, showcasing her spunky character right from the start.
The exuberance within the ballroom reflects the overall tone of the movie. Upon joining the team to direct “Pride and Prejudice,” Wright emphasized capturing the vivacious spirit of young love alongside a raw, authentic portrayal of chaos.
The Bennet sisters’ cheerful, infectious laughter makes clear their true feelings in numerous scenes throughout the film. The eldest is Jane (Rosamund Pike), followed by Elizabeth (the main character), Mary (Talulah Riley), Kitty (Carey Mulligan) and Lydia (Jena Malone). At first, Wright considered casting actresses who resembled each other, but he soon realized it would be challenging. So, during rehearsals, they developed a shared laugh that brought them together, as Wright explains.
The eagerness of the cast members could be seen in those involved with the project. Despite it being his first feature film, Wright didn’t find the idea of adapting “Pride and Prejudice” intimidating. Even though it was the first film adaptation since the 1940 version starring Greer Garson and Laurence Olivier, he felt more of a drive to create the best movie he could rather than experiencing Austen’s pressure. As he puts it, “I was young and daring, and I didn’t feel the weight of Austen’s influence. I felt a pressure to make the finest film I possibly could.
Wright notes, “It was crafted during a time of happiness and exhilaration.” He continues, “Austen doesn’t require my assistance. I am not planning to redefine her legacy with this film, but I was so captivated by her skill, her boldness, her emotional and psychological authenticity.
Production designer Sarah Greenwood recalls a dynamic on set driven by individuals just beginning their careers, which fostered an energetic atmosphere. “We were all beginners,” she notes.
The movie earned Oscar nominations for Best Actress (Knightley), Best Art Direction (Greenwood and Katie Spencer) and Best Set Decoration, Best Costume Design (Jacqueline Durran), and Best Original Score (Dario Marianelli).
Absolutely, “Pride and Prejudice” has been successfully modernized in recent times, with the 1995 BBC series starring Jennifer Ehle and Colin Firth being a prime example. Greenwood notes that this adaptation set a high standard, and our interpretation aimed to live up to it by offering a unique take on the story without compromising its essence.
This adaptation stands out by focusing on the theme of youth. As Austen penned the novel at just 21 years old, director Wright aimed to select actors who closely resemble the characters’ ages as depicted in the book. According to Wright, what mattered most was ensuring that Elizabeth Bennet was portrayed accurately as she was 18 in the story, and he wanted to emphasize a narrative about people experiencing love for the first time, rather than multiple times.
A key difference is that this particular adaptation is set in 1797, which coincides with when Austen penned her novel, as opposed to its eventual publication in 1813. As Greenwood points out, the film follows more closely the Georgian era rather than the Regency period. In essence, if you compare it to the BBC version, that’s quite Regency-style, characterized by its strict lacing and high waistlines.
In keeping with the shift in time, Wright imagined Longbourn, the Bennet residence, as a hub of lively discussions. He desired a noisy, chaotic family where everyone was frequently trying to speak at once. This is the ambiance he aimed to create, quite different from any period films I had seen earlier, he explains, with Robert Altman serving as inspiration for the dialogue. Yet, he clarifies, it wasn’t done merely to be contrary. Instead, he was simply attempting to portray what he believed was the authenticity and truth of that household’s daily life.
The house, unfortunately, isn’t particularly clean either. You can see quite a bit of dirt around, and animals seem to be roaming freely within its vicinity – a clear sign suggesting the family’s financial status might not be as affluent as characters such as Darcy or Charles Bingley.
Greenwood describes a visual impression they aimed to convey: the sense that the farm, their source of prosperity, was threatening to overwhelm them. It was advancing, or encroaching upon them, leading to the garden becoming neglected and the animals running wild.
As a cinephile, I found the filmmaker’s approach to be a refreshing reimagination of their lives, subtly stripping away the formalities and bringing a sense of authenticity that mirrors reality, which, indeed, resonates deeply with the source material.
The Bennet house serves as the central point of reference throughout the story. As Greenwood puts it, “It’s akin to a compass needle in the movie; we frequently return to the Bennet house. Events occur, and then we return.
Longbourn, as depicted in the production, was actually Groombridge Place. According to Greenwood, the interior walls, originally a deep brown, were refurbished to make them easier for the crew to paint over. He described the process as “meticulous and time-consuming,” but since filming took place there for six weeks, he felt it was definitely worth the effort.
Stepping into the movie’s setting, I found myself standing before a house that bore an array of colors, predominantly shades of blue. What struck me was the deliberate aging and weathering, giving off an authentic, worn-out charm. As Greenwood elucidates, back then, they didn’t have the luxury of modern chemical paints or cleaning products to maintain such a facade. Thus, repainting was a costly affair, making this faded elegance a testament to times past.
Just like the antiques in this house seem outdated compared to other affluent homes due to a lack of recent renovations, they give off a cozy, well-loved vibe. As Greenwood puts it, “We’ve replaced all the worn and tattered sofa cushion covers.
In this snippet, Greenwood describes how Mr. Bennet’s office, a warm and book-filled corner, mirrors his den. It turns out that Donald Sutherland portrays Mr. Bennet in this context. To reflect Mr. Bennet’s character, Greenwood carefully designed the space around an intriguing hobby he has.
He’s a charming individual, yet one can’t help but feel that he doesn’t seem very involved with [his property]. It was almost as if this hobby of his had no real significance or goal. As it turned out, they used to engage in the pastime of breeding and importing orchids. He would often be seen climbing a ladder, retrieving an orchid,” Greenwood explains.
In an instant, the scene reveals Kitty helping Lydia lace up her corset while the camera circles through their shared bedroom. Fashion sketches adorn the walls, much like how a contemporary teenager’s room might display posters or magazine clippings. It’s not hard to picture these two young sisters sprawled out on their bedroom floor, pulling fashion illustrations from their magazines.
What made teenage girls from past times unlike today’s teenage girls? There seemed to be a sense of liberty. In fact, Mrs. Bennet, portrayed by Brenda Blethyn, likely wouldn’t have scolded them often, as she was quite carefree herself – almost acting like a youngster herself.
In crafting the character of Elizabeth, Wright found the Bennet sisters’ unconventional personalities to be instrumental. He modeled Elizabeth after his own sister, a rebellious spirit from the 1980s who, much like breaking down barriers, wielded a sledgehammer and contributed to the demolition of the Berlin Wall.
In the movie, Elizabeth boldly challenges societal norms and declines proposals when they’re not feasible for her, disregarding the mounting pressure to marry swiftly. Her character on screen demonstrates a lack of concern towards traditional gender roles.
Working alongside director Mike Leigh, costume designer Durran developed a knack for designing clothing from a realistic British perspective, as stated by Wright.
In contrast to other women who wear pastel colors like lilacs, pinks, and sage greens, Keira’s character is dressed in brown. This choice seems deliberately unconventional for the era, as reflected by her costume and hairstyle. Her short back haircut, which we found a historical reference for, adds an element of rebellion to her character,” Wright explains.
Elizabeth showed a greater fascination with the concept of the mind compared to traditional notions of femininity and gender, as pointed out by Wright.
In the novel “Pride and Prejudice,” the central character’s struggle for self-determination amidst traditional societal norms, particularly those that favor men, is a key topic. Her pursuit of a life she desires within a patriarchal system is noteworthy, and her eventual happiness comes at a significant cost.
In an unforgettable rain-soaked moment when Darcy confesses his feelings for Elizabeth, she surprisingly turns him down, sparking a fast-paced disagreement between them that exposes their hidden misconceptions about one another. As explained by director Wright, “Our scenes together flowed much like a piece of music. It was all about timing and the ebb and flow of human interactions.
During our discussion, we were moving at a deliberate pace, yet it struck me that they weren’t really thinking, just arguing. In rehearsals, I once suggested they rush through the conversation without any acting. Surprisingly, they sped up their dialogue. I said, ‘This is how the scene should be until that moment of realization at the end when you look into each other’s eyes and all you want to do is kiss.’ It turned out to be a useful discovery for us, though technical in nature.
After Elizabeth rejects Darcy’s offer and experiences turmoil in her personal life, she seeks understanding. The scene shifts to Elizabeth standing on a cliff edge, gazing out over a broad landscape as the music of Marianelli increases dramatically.
Wright mentions what he admired most was, she had been in a house, a suffocating one filled with terrifying sisters whom she cherished deeply and endured her mother’s demands, as well as a challenging phase of the narrative where she felt everything was hopeless. However, there’s a sense of liberation from that situation,” Wright says.
Wright drew motivation from David Lean’s style, particularly employing sweeping transitions from a close-up of a match to a panoramic view of the sunrise in ‘Lawrence of Arabia’.
As a movie enthusiast, I found myself struck by an unexpected yet brilliant transition – the sudden switch from a close-up of her eyes to the symphony orchestra. And there, gracefully entering the scene, was Dario’s masterful composition. The orchestra swelled with intensity, and we were treated to a breathtaking wide shot captured in Derbyshire at just the right moment of daybreak. Then, with an electrifying energy, Keira appeared on that precarious cliff stage, sending the crowd into a frenzy. She was hastily escorted back for safety measures, and a wire was attached to prevent her from falling off the edge.
Marianelli’s romantic music compositions continue to captivate audiences on social media platforms. Wright recalls being utterly astonished by these pieces, describing them as “almost rhapsodic, these intense emotional outbursts.” Marianelli’s music had the ability to articulate some of the emotions that the characters were expected to suppress due to societal norms at the time, according to him.
In the movie, the romantic atmosphere intensifies as Elizabeth journeys with her aunt and uncle to Darcy’s manor, Pemberley. Interestingly, Chatsworth House, thought to be Austen’s inspiration for Pemberley in the novel, was used as the filming location; however, this wasn’t without some initial challenges.
According to Greenwood, Chatsworth was known for prohibiting filming. However, when Joe visited, he stated, “Let’s check it out and see if we like it, but we can’t shoot here.” But Joe didn’t want to film there; he just wanted a look. So, of course, we went, and it was breathtakingly beautiful – the most magnificent house one could imagine. And guess what? Joe suddenly wanted to film there!
Subsequently, Wright penned a missive to the local resident, the Duchess of Devonshire, who subsequently extended an offer for a face-to-face encounter. Greenwood reports that the director’s persuasive abilities were strong enough to convince not only to utilize Chatsworth, but also to alter one of its chambers. The sculpture gallery, where Elizabeth appreciates a Darcy bust, originally boasted red velvet drapes, and the production was granted permission to remove them. “To this day, these drapes have remained down because the statues look far more appealing against the stone walls than the red velvet. The Victorians hung the red velvet, but we removed it, and it never went back up,” Greenwood explains.
At Darcy’s abode, most of the scenes you see were actually captured in an alternate setting known as Wilton House, located in the heart of Salisbury. I found it fascinating to learn that!
Effective teamwork played a crucial role in the creation of the movie. Director Wright recalls collaborating with Emma Thompson, who penned and acted in the screenplay adaptation of “Sense and Sensibility.” One day, they ventured up to Hampstead Heath together, where Thompson spontaneously acted out Charlotte’s scene. I was jotting down her improvisations at that moment. In this way, Thompson also boosted my faith in our project’s goals,” Wright explains.
Greenwood also talked about creative decisions with Spencer and Durran. “It’s a carefully planned, collaborative endeavor where everyone ensures harmony to avoid anything jarring or out of place,” she explains. “The only primary color used in its pure form was the red for the soldiers; details like that were important.
1. She recalls the difficulties posed by English weather during the production, and how everyone collaborated to overcome these challenges. A scene depicts Mrs. Bennet, upset by Elizabeth’s rejection of Mr. Collins’s proposal, pursuing her daughter before seeking Mr. Bennet’s assistance in attempting to change her mind.
2. She reflects on the hurdles presented by the English weather during production and how everyone cooperated to find a solution. A scene shows Mrs. Bennet chasing after Elizabeth, who had refused Mr. Collins’s proposal, and then returning to enlist Mr. Bennet’s aid in an attempt to change her mind.
3. She remembers the obstacles caused by English weather during production and how everyone joined forces to find a way around them. A scene unfolds where Mrs. Bennet follows Elizabeth after she refused Mr. Collins’s proposal, later seeking Mr. Bennet’s assistance in an attempt to change her mind.
4. She recollects the struggles faced due to English weather during production and how everyone united to find a solution. A scene takes place where Mrs. Bennet pursues Elizabeth after she declined Mr. Collins’s proposal, and then goes back for Mr. Bennet’s help in an attempt to alter her decision.
5. She ponders on the challenges posed by English weather during production and how everyone united to find a resolution. A scene unfolds where Mrs. Bennet chases after Elizabeth, who had rejected Mr. Collins’s proposal, before seeking Mr. Bennet’s assistance in an attempt to change her mind.
As a movie enthusiast, I found myself rushing across a bridge one day, my dress billowing behind me. Geese were honking in the distance, adding to the scene’s spontaneous charm. This wasn’t part of our initial plan – it was the result of our cinematographer, Roman Osin, struggling to balance the indoor lighting due to the low light conditions. We were pressed for time and suddenly found ourselves asking, ‘What do we do now?’ Joe, our director, came up with a brilliant solution: let’s shoot that scene by the picturesque lake instead, and quickly, before the sun dipped below the horizon, giving us just five minutes to capture it all.
Everyone was rounding up all the geese and herding them together. Then someone said, ‘Alright, this is our chance!’ Suddenly, Brenda dashed across the bridge, her dress billowing behind her, creating one of the most stunning sights. And it seemed as though it couldn’t have been more perfectly timed,” she noted.
Reflecting on the movie, Wright finds it startling to realize that 20 years have passed. This sensation reminds him of a time-loop sequence in the film “The Man Who Wasn’t There.
Wright explains that it feels like there’s a repetition of events, as if he’s promoting a film that seems to have been created by someone else, all while retaining the freshness and immediacy of something that just occurred yesterday.
Wright expressed his delight in learning that some of the younger actors from the cast have achieved successful careers. Instead of using the word “proud,” he admitted that he has no right to feel that way, but he’s simply overjoyed by their accomplishments and what they’ve done with their lives and careers. He considers it a wonderful development.
As a movie aficionado, it’s no secret that the fascination with Jane Austen’s works remains strong and growing, with Netflix planning its own adaptation of “Pride and Prejudice” for television. Yet, the allure of the 2005 film version persists, as cinema-goers keep returning to relive this enchanting portrayal of a timeless love story once more.
Greenwood remarks that the film remains just as amazing, charming, and fresh today as it did in the past, which is quite remarkable since many movies lose their appeal over time. However, he notes that this particular movie appears to have defied aging.
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2025-04-19 01:19