Having watched a slew of special effects-laden trailers before this film I was reassured to discover that in the brave new world of CGI cinema there is still a place for a satisfyingly romantic story, well-acted and thoughtfully scripted and directed.
Comparisons with the highly-regarded 1995 BBC series are inevitable, but whereas that production had the luxury of time to unfold its plot and characters at leisure, the creators of this film had the unenviable task of reducing Jane Austen's book to just two hours. Yes, Austen lovers will mourn the absence or alteration of favourite scenes. Yes, we do lose some sense of the developing and changing relationships between the main characters (two examples - Wickham appears in only two scenes of any significance and personally I would have liked more time to savour Lizzie and Darcy's rediscovery of one another at Pemberley). Yes, there is occasionally a feeling of entering or leaving a scene partway through (where do Lizzie's uncle and aunt think she has gone when she apparently sets off from Pemberley to walk to Lambton without a word to them?) On the whole though, I think director Joe Wright, and screenwriter Deborah Moggach, are successful in retaining the flavour, the vital essence of Austen's original.
The film also offers some new perspectives on very familiar characters. Tom Hollander in particular, gives Mr. Collins something approaching dignity in his determined but usually unsuccessful attempts to ingratiate himself with those more powerful than him, and he provides some of the funniest moments of the film witness his attempts to gain Mr. Darcy's attention at the ball. Mrs. Bennet too, who we all remember Alison Steadman playing with an enthusiasm approaching pantomime, is more sympathetic in the hands of Brenda Blethyn because we understand more clearly the reasons behind her desperation to marry her daughters off. Mr. Bingley though teeters a fine line between nervous hesitancy and simple-minded idiocy which made me question why Jane Bennet would ever consider marrying him. And who on earth thought of giving him Cameron Diaz's infamous "There's Something About Mary" hairdo?
Reviews for Matthew MacFadyen seem to have been mixed so far, the inevitable 'Firth Factor' at least part of the reason. Personally I think he has a sexy, brooding presence to equal Firth's and (dare I say it) his Darcy has a little more charm and humanity when he does let his guard down. The scene where he bursts in upon Lizzie at the Collins' parsonage, all glove-twisting nervousness and incoherent attempts at small talk, captures perfectly the bewilderment of a man trained since childhood not to express his feelings, and made vulnerable for the first time by the conflicting emotions Lizzie has stirred in him.
I do think his Darcy is oddly lacking in 'pride' though, his taciturnity attributed to having so many expectations to live up to that he never dares let down the facade of 'Mr. Darcy of Pemberley'. Nor do we get any sense, as in the book, that Lizzie's free-spirited influence alters his attitude or behaviour towards others, the explanation the audience is left with being that really he was a nice guy all along, just misunderstood.
Keira Knightley's Lizzie brings nothing really new to the part, but whilst too stunningly beautiful to be the girl dismissed by Darcy as 'only tolerable', she has an abundance of the playfulness and charm which quickly captivates him. She is also a good enough actress to show Lizzie's own growing confusion and then loss as she realises how she has misread her own feelings.
The chemistry between the two leads works well, their dance at Netherfield a key moment as their verbal sparring gives way to a growing physical awareness which neither of them is ready to admit. Other little incidents such as the touch of hands as Darcy helps Lizzie into her carriage keep the romance heating up, and it almost reaches boiling point in the first proposal scene. It does fizzle away disappointingly though in their final reconciliation, which promises much at the start with a heady mix of very slightly disarrayed nightwear, rolling thunder and smouldering gazes across a misty meadow, but, whilst tenderly played, it ends up being a little too coy for the 21st century. Come on Joe Wright, give us a kiss in the DVD version please!
Comparisons with the highly-regarded 1995 BBC series are inevitable, but whereas that production had the luxury of time to unfold its plot and characters at leisure, the creators of this film had the unenviable task of reducing Jane Austen's book to just two hours. Yes, Austen lovers will mourn the absence or alteration of favourite scenes. Yes, we do lose some sense of the developing and changing relationships between the main characters (two examples - Wickham appears in only two scenes of any significance and personally I would have liked more time to savour Lizzie and Darcy's rediscovery of one another at Pemberley). Yes, there is occasionally a feeling of entering or leaving a scene partway through (where do Lizzie's uncle and aunt think she has gone when she apparently sets off from Pemberley to walk to Lambton without a word to them?) On the whole though, I think director Joe Wright, and screenwriter Deborah Moggach, are successful in retaining the flavour, the vital essence of Austen's original.
The film also offers some new perspectives on very familiar characters. Tom Hollander in particular, gives Mr. Collins something approaching dignity in his determined but usually unsuccessful attempts to ingratiate himself with those more powerful than him, and he provides some of the funniest moments of the film witness his attempts to gain Mr. Darcy's attention at the ball. Mrs. Bennet too, who we all remember Alison Steadman playing with an enthusiasm approaching pantomime, is more sympathetic in the hands of Brenda Blethyn because we understand more clearly the reasons behind her desperation to marry her daughters off. Mr. Bingley though teeters a fine line between nervous hesitancy and simple-minded idiocy which made me question why Jane Bennet would ever consider marrying him. And who on earth thought of giving him Cameron Diaz's infamous "There's Something About Mary" hairdo?
Reviews for Matthew MacFadyen seem to have been mixed so far, the inevitable 'Firth Factor' at least part of the reason. Personally I think he has a sexy, brooding presence to equal Firth's and (dare I say it) his Darcy has a little more charm and humanity when he does let his guard down. The scene where he bursts in upon Lizzie at the Collins' parsonage, all glove-twisting nervousness and incoherent attempts at small talk, captures perfectly the bewilderment of a man trained since childhood not to express his feelings, and made vulnerable for the first time by the conflicting emotions Lizzie has stirred in him.
I do think his Darcy is oddly lacking in 'pride' though, his taciturnity attributed to having so many expectations to live up to that he never dares let down the facade of 'Mr. Darcy of Pemberley'. Nor do we get any sense, as in the book, that Lizzie's free-spirited influence alters his attitude or behaviour towards others, the explanation the audience is left with being that really he was a nice guy all along, just misunderstood.
Keira Knightley's Lizzie brings nothing really new to the part, but whilst too stunningly beautiful to be the girl dismissed by Darcy as 'only tolerable', she has an abundance of the playfulness and charm which quickly captivates him. She is also a good enough actress to show Lizzie's own growing confusion and then loss as she realises how she has misread her own feelings.
The chemistry between the two leads works well, their dance at Netherfield a key moment as their verbal sparring gives way to a growing physical awareness which neither of them is ready to admit. Other little incidents such as the touch of hands as Darcy helps Lizzie into her carriage keep the romance heating up, and it almost reaches boiling point in the first proposal scene. It does fizzle away disappointingly though in their final reconciliation, which promises much at the start with a heady mix of very slightly disarrayed nightwear, rolling thunder and smouldering gazes across a misty meadow, but, whilst tenderly played, it ends up being a little too coy for the 21st century. Come on Joe Wright, give us a kiss in the DVD version please!