Pride and Prejudice: 1995 vs. 2005

 

A beloved classic! Don't we all love the fine-eyed, spirited, sharp-tongued Lizzy Bennet; tall, dashing, unsociable Darcy; their timeless romantic journey... 

Looking at the title of this post, you must know as well as I do that the two most popular adaptations of Jane Austen's enduring classic are debatable, regarding who gets first place. Quite frankly, I have to say it's an overall draw. But there are specific categories in which one beats the other, so let's take a look at these now. 

Disclaimer: big fans of the novel here, so you'll find us comparing back to the original content. 

Cinematography

Joe Wright's version came out in 2005 and stunned audiences with breathtaking views and atmospheric music to accompany them. Lizzy's trip to the northern county of Derbyshire, browsing the peaks, is an especially treasured highlight. The piano-based soundtrack makes for an exciting, climatic experience at multiple moments in the film. 

Camera swirling and all-in-one takes were unbeatable. The scene where Lizzy and Mr. Darcy are dancing - when all else fades and the background dims away - is note perfect. Also the scene before this at the Netherfield ball, where the camera moves from character to character, focusing and blurring to emphasise and direct attention. The structure and detail added in these takes are just brilliant.

Highlights in the BBC production include the iconic lake scene. The effective underwater shots encourage the audience to hold their breath with Mr. Darcy as he relieves himself on a hot day, hoping that one day Miss Bennet will be his and he "will conquer this." (Quote from the previous sword fighting scene - not in the novel, but I like the Darcy-focused additions that provide the hero's perspective).  

Another gold star to Andrew Davies for the final scenes at Pemberley before Lizzy hears of Lydia's infamous elopement. When Mr. Darcy rests his palm on the mantlepiece and gazes at the piano-forte... Lizzy's bright-eyed, lovely face reappears in flashback-mode. If we weren't convinced before (which is unlikely), we now know Darcy's in love!    

At the end of each episode, Andrew Davies had the characters freeze mid-facial-expression or mid-gesture, always at the perfect junction for the theme music to overtake with cast credits in order of appearance. This was a delightful idea and pulled off smoothly, giving the audience time to mull over what just happened, while still seeing the scene's focused effect and the story's character response.

Settings 

The timeless screenplay by Andrew Davies portrayed Austen's novel settings terrificly. Casting Lime Park as the fictional Pemberly was a streak of genius. Longbourn struck the perfect balance of lower class and status, yet gentlemanly rank, which is highlighted in the book. 

It's thought that Jane Austen loosely based the Bennet family on her own upper middle class standing at the rectory in Hampshire. She grew up in Steventon with a loving, devoted, rector-by-profession for a father and a less-melodramatic-than-Mrs.Bennet, tender yet money-orientated poet for a mother. 

(Ah, that sentence was a mouthful).

 When I say "poet" I mean that aside from Jane's prolific writings, her elder brother James and Mamma Austen kept the boat afloat with written creations, including plenty of poetry. Apparently Mrs. Austen once wrote a recipe in the form of a poem just for the sheer fun of it!

But before I continue on this tangent, I must return to my point. Allowances can be made that the Bennets would be a little lower class-ranking than the Austens, but as Lizzy points out to Lady Catherine de Bourgh, "(Mr. Darcy) is a gentleman. I am a gentleman's daughter. So far we are equal." 

While this statement falls in naturally with credible evidence in the BBC version, 2005's movie took an exaggerated turn on the Bennets' state of poverty. At times, Mr. Bennet looks like he's keeping a farm rather than the servant- and carriage-run middle class Longbourn! 

In the 18th and 19th centuries, a farmer was a far cry from a gentleman. 

Characterisation and Casting

After Collin Firth portrayed Darcy's gentle, watchful eye and progressively softening features, it was hard to imagine anyone could beat that heroic Fitzwilliam depiction.

 Jennifer Ehle's "fine eyes" match the novel's outstanding description of how Lizzy's features were "rendered uncommonly intelligent by the beautiful expression of her dark eyes." (You can read of Mr. Darcy's "mortifying" admiration discovery in chapter 6).

Yet it's difficult and unfair to compare the lead romantic couple's cast members. Considering the shoes they had to fill, Keira Knightley and Matthew Macfayden provided exceptional performances too. Keira's characteristic pretty-eyed gaze and pointed, witty humour were fantastic. While Matthew's eventual appearance in the mist captured a divine moment... his earlier scenes of cool, distant civility and unwilling interest also make it pretty much impossible to have first and second place rankings for Firth and Macfayden.  

Moving on from the exasperating assessment of the lead couple's skills, we can now observe the Janes and Bingleys. I have a soft spot for Rosemund Pike and that "Yes... a thousand times yes" scene won me over. However, Bingley's innocent delight and easy-going nature were portrayed more clearly and deftly in the BBC version. But that's only my opinion. All cast members on both crew teams were superb, I can't compare a moment longer... 

Except we can't leave off without a note for our darling Mrs. Bennet! Melodramatic and lovably eccentric, both actresses deserve gold stars for their depictions. So I'll just mention that from my reading of the book, I have gleaned tones of voice in Mrs. Bennet's dialogue that Jane Austen used to bring her character's speech to life. The speech marks really bounce off the page and Mrs. Bennet's vocal portrayal of words is extremely important to her characterisation. This was brought across more obviously by the BBC version's Mrs. Bennet. However, this is only a personal interpretation of the novel's intent for her character arc and as we all know, interpretations vary. 

Do leave your thoughts in the comments below. 

We'd love to hear what you think of Austinian characters and those who brought them to the iconic screen! 

Contextual Detail: The Regency Period

The many of us who are acquainted with the "Austinian" realm of things know that hers was a time period in which all life's greatest, most exciting and gossip-worthy events occurred in the drawing room. Nowadays, this is a rusty connotation. The everyday lounge? No way, that's insignificant. Perhaps that's one reason why we just love her novels (and their vivid screenplays).... 200 years later, in a drastically different society (and extremely modernised England), it's charming, refreshing and a vast pleasure to watch and learn from life back then. 

No phones, no technology, no snazzy vehicles or modes of transport - in short, we can't imagine what it would be like in those shoes. Austen gives us a taste of that (ooh and a delicious taste, too)!  

Beside these large contextual differences, the Regency Period had a kind of "code of conduct." Posh and ridiculously refined to the modern eye. Yet this was extremely important and violation of the rules portrayed a serious message and could affect your reputation - depending of course on your ranking and role in society.

 Examples of this code of conduct include polite gestures, such as bows and a concept known as the infamous "cut." We encounter this in some of Austen's other novels especially - in Sense and Sensibility, a very horrified Sir John Middleton "cuts" John Willoughby when he meets him by chance in town. 

In these days, an acquaintance was an acquaintance. If you knew someone, pretending you didn't know them, moving on and quite frankly ignoring them - was either a serious offense or a clear indication of displeasure. Everyone watched and gossiped, so such a gesture could not go unnoticed. In Sense and Sensibility, we empathise with Sir John and understand the motives behind his "cut" to Willoughby. (Spoiler alert)! The latter has proven himself a scandalous rascal and he's candidly and unjustifiably injured a dear young friend of Sir John's: Marianne Dashwood.

Joe Wright's screenplay of Pride and Prejudice cleverly combines a rule-based societal gesture with some dialogue Austen wrote later on at a different point in the novel. When Lizzy is staying at Netherfield and looking after her flu-stricken sister, Mrs. Bennet comes to visit, eagerly calling on a keen urgency for Jane to remain in Mr. Bingley's generous care until she is fully recovered (because she is a "vast deal too ill to be removed"... yes of course, Mrs. Bennet, undoubtedly). 

A specific conversation in the novel now ensues chiefly between Lizzy, her Mamma and Mr. Darcy. Mrs. Bennet, desirous of showing off her Jane, mentions to an astonished Mr. Bingley that there was a young man very much in love with Jane at her uncle's house in Cheapside, London. "I was sure that he would make her an offer," she says. He didn't in the end, but Mrs. Bennet found solace in the knowledge that he wrote her some very pretty verses. Lizzy - eager to silence her embarrassing mother - tries to put an end to this thread of conversation by saying, "And thus ended his affection. I wonder who first discovered the efficacy of poetry in driving away love." 

Mr. Darcy - impressed by her lively wit - desires to know what she means. "I thought poetry was the food of love," he says. 

"Of a stout, fine, healthy love it may," replies Lizzy. "Everything nourishes what is strong already. But if it is only a thin, slight sort of inclination, I am convinced that one good sonnet will starve it away entirely." 

Austen tells us in her omniscient narrative voice, that "Darcy only smiled. And Elizabeth trembled lest her mother should be exposing herself again." 

The 2005 adaptation incorporates a much-condensed and pointed version of this conversation at the Assembly ball in Meryton, when everyone meets each other. After the dances, Jane is admired and loved by Bingley, whom she admires for his good-natured personality: "everything that a man ought to be." 

 Mrs. Bennet has some fun, showing off her Jane and the following lines were cleverly adapted from the novel and penned in the movie's script...

Lizzy: And that put pain to it. I wonder who first discovered the power of poetry in driving away love.

Mr. Darcy: I thought that poetry was the food of love.  

Lizzy: Of a fine, stout love it may. But if it is only a vague inclination, I am convinced one poor sonnet will kill it stone dead. 

Mr. Darcy: So what do you recommend... to encourage affection? 

Lizzy: Dancing. Even if one's partner is barely tolerable. 

After this tweaked conversation, Lizzy bows with a low nod. This is an interesting gesture, because in Regency ettiquette, I've read that "a long bow could be ridiculous in some situations and lend emphasis to one's words or departure in others." So gold star to the addition of Lizzy's long bow as if she was emphasising her point - her words were witty and sharp and Mr. Darcy alone understood their meaning. She was bringing this message across very clearly in her low nod: I heard you say I was not handsome enough to tempt you. Well... Just mark my words now, Mr. Darcy, mark my words now.

I really enjoyed this smoothly-shot scene.

The BBC drama contains repeated loyalty to the oh-so-crucial rulebook of what to say and do. Besides what not to say and do. Don't we just love when Jennifer Ehle's Lizzy outshines Miss Bingley in every way - even in the matter of manners, Lizzy is far more polite, although Miss Bingley pretends to be above the Bennets in refined propriety. 

In chapter 8, we encounter some unfounded censure of Lizzy's walking so far alone to care for Jane at Netherfield. "It seems to me to show an abominable sort of conceited independence, a most country town indifference to decorum." Later on, we see Miss Bingley behaving this way herself! (In conceit, that is: not country walks). 

 The Regency code of conduct was briefly abandoned by those in higher rank... Ironic, yes. Austen mastered the technique of pointing out failures and inconsistencies in society. 

Comical at times. And enlightening, too. 

Costume Accuracy

To compare each adaption against each other is a little unfair as the 2005 version is set in the 1790's when Jane Austen first drafted the novel under the title First Impressions, and the BBC production is set in 1813, when the novel was published. However, the actual timeline in the book is uncertain with some scholars suggesting 1811 to 1812 as a timeline; others saying 1799 to 1800. No matter the time of the book, what we do know is that Austen was a writer who took her world and made it come alive on the page. So instead of comparing the two adaptations to each other, we will compare them to the fashion plates and extant garments of the time. 

In the 2005 adaption, the director went for the traditional stage of the Regency Period where the lower waistlines were rising gradually higher and higher. This means that when we see lower class and older people in lower more 1780s styles it's not too unplausable. However, I will say that while that choice makes sense for the lower and middle class older women, it struck me as unfit for Lady Catherine who is proud and "likes to have the distinction of rank preserved." However there is one similar dress which only the HIGHEST in society would wear called a Court gown. This fantastical outfit combined the high waist of the 1790s and the wide hoops of the earlier decades. The fashion plate pictured below is from 1795 and you can see how weird these fashions really were! However I don't think these dresses were very popular outside of court. 

 I rest my case however and go forth to other characters... 

Let's talk about Elizabeth, our heroine. Jane Austen said she could not find any portraits resembling Elizabeth but that she always believed she would be wearing yellow. Now in the 2005 version yellow is not a colour we see Elizabeth in, though Keira Knightly herself has worn yellows and golds before with much success. Anyway, on to the gowns: I have found quite a few gowns that remind me of 2005 P&P.  I'll picture a few...

This green dress for example reminds me of the green dress she wears sometimes, albeit in a fancier fabric with long sleeves, this is a round gown and very popular throughout the 1790s and 1800s. There is a pale yellow round gown on Pinterest which I could imagine Jennifer Ehle's Lizzy wearing. However, the file wouldn't upload so I'll move on...

The BBC version's costumes use little artistic licence and I quote one YouTube reviewer as saying they "looked like they could have stepped out of Ackermann's repository.* " 

* Ackermann's repository was a Repository of arts, literature, commerce, manufactures, fashions, and politics, it ran from 1809 to 1829.

Rather they used fabrics to give a Town vs Country air with the Bennets in light printed cotton and muslins that read country to the modern eye, (despite being very fashionable fabrics in the Regency Era) and heavier, bold and more luxurious velvets and silks for the Bingley sisters to emphasise their artifice and haughtiness.

This beautiful gown looks very 1995 Lizzy if you look at the sleeves. The 1995 version defiantly did them right.

 Here Lizzy is and in pale gold. "Jane Austen aproves." Note the sleeves... *chef's kiss*

 Now onto dear sweet pretty Jane. Austen describes in a letter to Cassandra finding a likeness of Mrs. Jane Bingley in a portrait gallery and mentioned the lady was wearing white and green confirming her (Jane Austen's) inclination that green was a favourite colour of hers (Jane's). Now many Austen fans and scholars have found a portrait that they believe is the one Jane Austen was describing. This is the full quotation from the letter including the reference to Mrs. Darcy that I referred to earlier.  Mrs. Bingley's is exactly herself--size, shaped face, features, and sweetness; there never was a greater likeness. She is dressed in a white gown,with green ornaments, which convinces me of what I had always supposed, that green was a favourite colour with her.  I dare say Mrs. D. will be in yellow.

This is the portrait widely believed to have been the one Austen was referencing. It is remarkable how much she reminds me of Susannah Harker's 1995 Jane!

Jane: 1995

 Jane's costumes in the 1995 version are nearly all v- neck dresses. Apparently this was because Susannah Harker was in the early stages of pregnancy and the v- necks hid and distracted from the visibility of it. So I won't complain too much about her wearing them in the daytime.

This looks like such a lovely accurate dress, though I wouldn't want to wear Jane's low necklines myself. Regency modesty standards were different. Woe betide those who didn't wear stays ye, loose women! Yes indeed, even though you think of the Regency era as being free from the tight restricting stays of the Georgian era that was not completely true unless you were a risque French lady (woe betide). You would be wearing a shortened stay with petticoats too, to stop the figure from showing TOO much. 

 I really like the way they did her curls they are very fitting for the era. The gold gown is very well-tailored and you can see from the tucks and tiny decorative stitches on the sleeve the attention to detail that was put into these costumes.

Jane: 2005

This portrait of a 1790s lady is remarkably similar to Jane's white dress with pink ribbon pictured below and also as a bonus, they are both loosely holding things to read implying that maybe the portrait was the inspiration for the whole shot.

Jane's pallete is one of blues, pink and whites - colours we tend to associate with innocence of mind and femininity. She often wears variations of v neck gathered gowns sometimes with an open robe over the top she has the highest waistline of the family highlighting her as the eldest and most fashion-forward.

Miss Bingley 1995:

Miss Bingley. Cold, mean and snobbish. The costume designer for the 1995 version went with rich sly colours like green and orange to symbolise her desire for attention and her jealous nature. If you took away the accessories for her orange and green evening gown and put the dress on a likeable character like Elizabeth it would  actually be quite beautiful, because it is a well made Regency dress. It's the casting and the accessories that really make the over the top look. Which helps us as the audience to immediately get the feel that she is not a nice character.

Take a moment to appreciate that Mrs. Hurst is the same lady who portrayed Mrs Elton in Emma 1996. She must have got the reputation for Austen villains!

Miss Bingley 2005: 

Most people think that Miss Bingley's sleeveless white gowns went a bit too far off the accuracy scale. However, I would actually say they are not as bad as it seems at first. I have managed to find some contemporary portraits of sleeveless or nearly sleeveless white Regency gowns! 

 See! Myth busted. Sleeveless is a thing. Having a hard time finding a cowl neck though!

 

Below are all of her outfits. It's a shame we don't get to see more than a headshot of the carriage outfit as it's my fave of the lot. I love the hat. The white and green dress isn't too bad though I think it would have looked better if the sleeves were fitted.

Anyway, I am going to draw an end to the costume comparison here. I have covered the main three fashionable ladies and might do a more in depth analysis at another time but for now

             So Long.