It is hard to have lived your life without seeing a piece of media that has, in some way, been adapted or inspired by a Jane Austen novel. Without Austen’s revolutionary influence, coming-of-age films like Frances Ha (2012), introspective narratives like Perfect Days (2023), and timeless classics like The Sound of Music (1965) would simply not exist. In an era where there was a necessity of narratives to include extravagant twists and mystery, she honed into the idea that “everyday events in ordinary places could be the stuff of fiction”. In the early 19th century, this was a feat no one had dared to undertake.
Of all of Austen’s work, Pride & Prejudice has become the most beloved and referential piece in fiction today. From Bollywood adaptation Bride & Prejudice (2004), to loosely inspired Bridget Jones’s Diary (2001) and genre-bending Pride and Prejudice and Zombies (2016), it is clear that the industry has a love for the story. You can’t help but wonder what it is about this narrative that allows it to withstand centuries of storytelling.
An adaptation that is more true to the novel than most and adored by the masses would be Joe Wright’s Pride & Prejudice (2005), which returns to theaters to celebrate its 20th anniversary. Here we meet Elizabeth Bennet (Keira Knightley), the second eldest daughter of the five Bennet daughters, who is deemed the more unconventional child of the family by her mother, Mrs Bennet (Brenda Blethyn), and English Georgian period standards. She focuses more on her intellect as opposed to marriage; however, she still cares deeply for those she trusts, like her sister Jane (Rosamund Pike) and her best friend Charlotte Lucas (Claudie Blakley).
When adapting anything into a screenplay, there comes an immense pressure to stay true to why people adored the source material, but also incorporate a unique stamp to avoid it being a regurgitation. This fine balance is seamlessly achieved by screenwriter Deborah Moggach through the many unspoken subtleties between characters, accelerating the audience’s understanding of their relationships.
The dynamic between Jane and Elizabeth is enveloped in this. As the eldest daughter, Jane is faced with the cumbersome pressure of marriage by Mrs Bennet, with the entire opening sequence of the film being the family getting stirred about the arrival of a wealthy unmarried man named Mr Bingley (Simon Woods). Knightley beautifully conveys a pure sense of affection towards Pike, which is emphasized by her demeanor utterly shifting to this from an almost hostile default towards others. As viewers, it is evidently understood just how much Elizabeth cares for Jane to find the most authentic love.
Despite all of the adult struggles they face, there are glimmers of child-like glee that radiate from them, ever-present when lying next to one another, giggling, discussing boys before bed. It is as if Moggach intentionally wrote this sisterhood with as much care as writing a character, crafting a poignant message to the audience about how experiences like this transcend time.
Yet another display of the timelessness of human interactions was Elizabeth’s friendship with Charlotte. As Elizabeth begins to develop romantic feelings towards Mr Darcy (Matthew Macfadyen), Charlotte grows resentful as her situation has not allowed for this, claiming that “not all of us can afford to be romantic” after she settles into her marital pursuits with Mr Collins (Tom Hollander). The stark truth of their friendship was that it was, like many are in life, circumstantial – befriending one another simply by the fact that they both were sharp-witted and uninterested in high society standards, when in reality, they have strikingly opposing values.
Knightley demonstrates how Elizabeth manages the discovery of differences between herself and Charlotte, particularly when she visits the newlyweds for the first time at their home. Immediately, she portrays Elizabeth as more reserved and attempting to converse before being interrupted by what Charlotte has to say. In addition, they are purposefully blocked further apart from each other when having conversations by cinematographer Roman Osin, serving as a physical manifestation of their emotional distance. This is a feeling so common to us all, where, in an instant, we see the wedge that is driven by time shaping individuals in a way that diverges their paths.
At the core of Pride & Prejudice, the spotlight is undoubtedly on Elizabeth’s relationship with Mr Darcy. Whether it be how intimate it feels when Knightley and Macfadyen’s eyes lock for just a second or how the most minuscule grazes of skin can drive such an intense emotional reaction, it is the textbook definition of two people unequivocally yearning for each other. To add yet another dimension to this, the internal yearning is channelled into external unadulterated loathing every time they speak to one another, solidifying itself as one of the most revered depictions of the enemies-to-lovers trope.
The true romanticism of this film comes from what we see the characters do rather than what we hear them say. Osin shows the audience Elizabeth and Mr Darcy’s love story through several techniques. When they dance for the first time, he seamlessly transitions from a bustling ballroom to the two of them commanding the floor, artistically bringing to life the idea that someone can make you feel like “you’re the only person in the room.” Also, he perfectly encapsulates the warm, hazy hues that wash over someone who is lovestruck when we see Mr Darcy walk through the foggy field at daybreak. We are watching him through the eyes of Elizabeth.
The sheer popularity and love of Pride & Prejudice come from the genuine portrayals of familial, platonic, and romantic love that age effortlessly, making it rewatchable and approachable to new audiences. It isn’t difficult to piece together why shows like Bridgerton (2020-) with dialogue like “You are the bane of my existence and the object of all my desires” are successful, as it takes clear inspiration from the iconic Mr Darcy lines “In vain have I struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I love and admire you.”
Given the fact that another adaptation of it has been greenlit by Netflix, this is a story that will continue to inspire generations to come.
Review Courtesy of Nandita Joshi
Image Credit to Focus Features