Pride and Prejudice (2005)
Pride and Prejudice (Joe Wright, 2005)
One must ask oneself can there be anything more done with "Pride and Prejudice"—the much-adapted jewel in the Jane Austen tiara? It turns out that, yes, verily, there can. Director Joe Wright, in his first full length motion picture (after some shorts and mini-series work), takes some of the stuffing out of the classic novel (aided and abetted by screenwriter Deborah Moggach with some additional material stuffed into it by Sense and Sensibilty scribe Emma Thompson) and makes it move in its own frenetic dance for the first 3/4 of it. The many dances and balls are choreographed and photographed to maximum effect, in ways that, at times, are sublimely comic—the way I prefer Austen to be treated—as well as the ways in which the 19th Century mating rituals and business marriages are carried out amongst classes and stations seem to intersect naturally with Wright's searching, shifting camera moves during the film's country dance sequences.
Then, in moments that Austen would call "high dudgeon"—and what I would call "money-shots"—Wright's camera stops and Nature takes over, culminating in two eerie scenes: one, a confrontation between Elizabeth Bennet (Keira Knightley) and her object of obsession Mr. Darcy (Matthew Macfadyen) staged in an unyielding Greco-Roman pogoda during a thunderstorm; and later during a bizarre shot where Elizabeth, locked in emotional and physical paralysis, spends an uncertain day in one spot as the sun and Nature move around her, a fascinating way to pull off her receiving Darcy's letter of regret without really receiving him.
Sometimes, Wright goes a bit too far blowing the dust off this classic—a spinning camera from Elizabeth's point of view on a swing seamlessly, and a little nauseatingly, shows the passing of time. And he can't resist a "money shot," a gorgeous, overly dramatic shot of Elizabeth on cliff-top at Stanage Edge, ensuring that her new perspective on things is in Panavision.
But he's also aided immeasurably by extremely naturalistic performances (including those of Brenda Blethyn and Donald Sutherland as the Bennett parents) from an ensemble encouraged to stumble over each other's words to take the starch out of the formality, including outstanding turns from soon-to-be stars Rosamund Pike and Carey Mulligan, a performance by Dame Judi Dench in full "battleaxe" mode, and another of those extremely mercurial performances by Keira Knightley, whose Elizabeth Bennett goes from apple-cheeked gushing teenager to stormy-eyed character assassin in hardly a blink.
Of course, any "Pride and Prejudice" stands or falls on the chemistry between its Elizabeth and its Mr. Darcy, who is here played by Matthew Macfadyen, in what is always the toughest role—he has to play a standoffish prig but still be attractive enough to pull off the transition to ardent suitor, especially an accepted ardent suitor. And, here, Knightley's fierceness plays to the advantage of that relationship. You can believe that she's smitten by the man as much as she's infuriated by him, a fine example of the maxim (used by me a LOT) that Love and Hate are not opposites, but merely two sides of the same coin; the true opposite of love is indifference. Darcy may feign indifference, but it is pretense, given his position and family objections.
Maybe it should have been titled "Pride, Prejudice, and Pretense." That certainly works better than "Pride and Prejudice and Zombies."
One must ask oneself can there be anything more done with "Pride and Prejudice"—the much-adapted jewel in the Jane Austen tiara? It turns out that, yes, verily, there can. Director Joe Wright, in his first full length motion picture (after some shorts and mini-series work), takes some of the stuffing out of the classic novel (aided and abetted by screenwriter Deborah Moggach with some additional material stuffed into it by Sense and Sensibilty scribe Emma Thompson) and makes it move in its own frenetic dance for the first 3/4 of it. The many dances and balls are choreographed and photographed to maximum effect, in ways that, at times, are sublimely comic—the way I prefer Austen to be treated—as well as the ways in which the 19th Century mating rituals and business marriages are carried out amongst classes and stations seem to intersect naturally with Wright's searching, shifting camera moves during the film's country dance sequences.
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