Orgueil et préjugés

This film version of Jane Austin's Pride and Prejudice is generally pleasant to watch. The cast is certainly glamorous and a slight change in the period moved the story into one with fancier costumes to look at. At a few places the plot had to be rushed a little to make it fit into two hours and the ending is also a touch happier than in the novel. Some critics lamented the slightly changed ending but this works actually very well for this medium. The rushed plot elements increase the overall pace but compromises somewhat the credibility of the characters, while the increased pace is at odds with the much more tranquil way of life in days gone by.

Therefore, this is really watchable, but the definite version is the 1995 BBC mini series which is much closer to the novel as well.

Is the 1995 television version superior? Yes - every historical period is better recreated since Stanley Kubrick took up the reins with Barry Lyndon in the mid 1970s. Lighting, dress, authentic settings, more faithful adaptations - though not better acting. In the last thirty years, we've been treated to the re-making of all that Hollywood and television had adapted from much of Thackeray, Austen, Balzac, Dickens, Eliot, Hardy, James, Wharton, Twain, Zola, DeMaupassant, even Leopardi. and in virtually every case, the movies are more faithful to their books, the spirit better represented.

Why? I think because movies and television have been more segmented. In 1940, Hollywood was appealing to everyone attending their weekly movies - from the 8 year old girl to the 60 year old man, from the miner to the mine owner, banker and sewer worker. In America alone, 90 million people attended the movies EACH WEEK in the early 1940s. As a result, Hollywood felt it had to appeal to all - and that some aspects of classics could be made more palatable in making them more mainstream.

"Horrors" say the purists. Well, I don't think so - but yes I do prefer the more recent version (of everything).

And yet this is a delightful, charming, humorous, moving film. Greer Garson and Maureen O'Sullivan, Laurence Olivier, Frieda Inescourt (what a voice!), Edna May Oliver, Gwenn and all the rest of the cast are fun, great fun to watch.

In watching this movie, you're watching Hollywood at its top at the time - the same studio that produced the Wizard of Oz and Gone With the Wind in the years immediately preceding this. And you get to see the glowing Greer Garson and Laurence Olivier.

So, this is very enjoyable - except to the purists.

This film is really just 'based on' the novel and enthusiastically takes liberties with the costumes, characters, time period, etc. But if you can set aside your expectations of accuracy, and imagine this film as a stand-alone piece, you won't be disappointed. After all, if the basic Pyramus and Thisbe romance can be remade and reworked a hundred different ways, why shouldn't Bennet and Darcy? Aldous Huxley's screenplay is razor sharp, the plot gallops along, the characters are wisecracking and witty, and though I have probably watched this film more often than any other film I own, It still feels fresh and surprisingly modern. Only 'His Girl Friday' can best the deliciously quick dialog Huxley penned for his female lead.

It does not run along the lines of the Jane Austen classic, but the 1940 movie was actually based on the stage adaption, eventually purchased by the MGM studio as what could have become another Norma Shearer expensive spectacle. Like many other projects at the studio, this collected dust after the death of Irving Thalberg, head of MGM.

Thankfully, new casting was decided on. Shearer of course is really too old for the role. The result was what I believe to be one of the most memorable movies of the 1940s. Austen's classic comedy of manners still has all its light touches of romance and humour, with the horrors of English 1800s, loss of estate, inheritance and destined sinking with no worldly stature for a family of five girls with no male heirs.

Amicably backed by a competent supporting cast including Edmund Gwenn and Mary Boland, the star of the show is really Greer Garson. Fresh from her successful debut as Robert Donat's wife in "Goodbye Mr Chips", Garson is really like Lizzy Bennett herself, charming, high spirited and strong willed. It is one of her best roles, just before she became the 'first lady' of MGM. Olivier, brooding and snobbish as the high classed Darcy, also performs well, but is still outshone by Garson.

Tasteful sets, costumes, music and art decoration helped to make this such a huge success in its day. All the right elements of acting, script and direction have made this a production that should be better remembered. We don't relate to the dilemnas of costume period drama days, but "Pride and Prejudice" is great cinematically to have lost little of its charm or its timeless appeal.

Rating: 9/10

The last movie I watched before this one was the Mystery Science Theater edition of Devil Doll, and I'm hard pressed to say which movie has less to do with Jane Austen. Everything about this film screams MGM Assembly-Line, from the astonishing banality of the script (Huxley Shmuxley!) to the insufferable "music" to the look-at-us-we're-vaguely-19th-century costumes. Olivier's performance is so fey it's a wonder he doesn't float off the screen, Garson tiptoes around Lizzy as though terrified she might say something offensive, and Melville Cooper accomplishes the superhuman task of making Mr. Collins unfunny. This monstrosity is to the 1995 BBC mini-series as a comic-book version is to the novel itself.