Orgueil et préjugés

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.

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.

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

Even ignoring my new-found passion for Austen (yes, I'm one of those) and the fact that I had just finished reading P&P literally days before viewing this version of it, I find it hard to believe that so many reviewers find anything of value in this unfortunate production - clearly stamped out on the MGM studio factory line, with little care or thought, like so many of the films of the period. Fortunately, my love of the novel, and of the superior Ehle/Firth version, allowed me to dismiss this with very little pain.

With that said, though, I still must comment on one thing that really seemed to miss the mark, and that I don't see mentioned elsewhere, and that was the way the Bennet sisters were presented. They ALL seemed like silly little girls and, although Garson's Elizabeth had an opportunity to demonstrate how "modern" her thinking was, she still came off as comical, not to be taken seriously. Austen made a very clear distinction in her work, between Lizzy and Jane on the one hand (intelligent, reflective, serious and sensitive) and their 3 younger sisters (flighty, man-hungry, vacuous), and that difference provided a potent (frequently humourous) backdrop to the character development and plot in her work. This version didn't even come close to presenting such a distinction.

Others' comments take care of the rest of my objections to this drivel, so I won't repeat them here. But I will add that even Olivier couldn't save it for me. He seemed the same person throughout the entire movie. Charming, yes, but did he show any sign of having accomplished the transformation that Elizabeth helps bring about in him in the real story? Did he learn anything about himself in the course of his relationship with her - other than her superior skill at archery (which, in its attempt to show her to be full of surprises and quite capable of upsetting Darcy's composure, only added to all the silliness).

The novel helps us understand how bright, intelligent and introspective individuals can accept their limitations, change their way of thinking about others and themselves and grow tremendously in the process. This MGM outing was more like an Andy Hardy movie with pretty costumes and a faux British setting.

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.