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This week, we take a look at the films of Michael Mann. What's your best Mann?

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HOLIDAYS & EVENTS



Pride & Prejudice
Review by Camerin Courtney | posted 11/11/2005




Pride & Prejudice

Our rating:

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MPAA rating: PG
(for some mild thematic elements)

Genre: Drama, Romance

Theater release:
November 11, 2005
by Focus Features

Limited release:
November 11, 2005
Directed by: Joe Wright

Runtime: 2 hours 6 minutes

Cast: Keira Knightley (Elizabeth Bennet), Matthew MacFadyen (Mr. Darcy), Rosamund Pike (Jane Bennet), Brenda Blethyn (Mrs. Bennet), Donald Sutherland (Mr. Bennet), Tom Hollander (Mr. Collins), Judi Dench (Lady Catherine de Bourg), Simon Woods (Charles Bingley), Kelly Reilly (Caroline Bingley), Rupert Friend (Mr. Wickham), Claudie Blakley (Charlotte Lucas)

Related
Talk About It/Family Corner






Why? That's the question many have asked when they heard that a new version of Jane Austen's classic Pride & Prejudice was being released. Why, when the 1995 A&E/BBC version is considered the gold standard? Why, when Colin Firth simply is Mr. Darcy? In other words, if it ain't broke, why try to fix it?

Keira Knightley, playing Elizabeth Bennet, brings the the right balance of self-assured and anguished to the role
Keira Knightley, playing Elizabeth Bennet, brings the the right balance of self-assured and anguished to the role

Thankfully, director Joe Wright doesn't try to fix anything. Think of it this way: The A&E/BBC version is like a family portrait—a stunningly lit, artistically framed photograph that captures the family so true to life. This new 2005 version is more like an impressionist painting of the family—less detail and depth, but when you look at it from different angles, various shadings and nuance catch your eye. It's the same lovely story, just a different artistic rendering.

Of course, the family in this portrait is the Bennets—endearingly henpecked Mr. (Donald Sutherland) and annoyingly fussy Mrs. (Brenda Blethyn) and their five daughters, whose main hope for any sort of future is to marry well. After all, this is 18th century Britain, the family's experiencing some financial distress, and money and estates are passed through sons. So when one single and rich Mr. Bingley (Simon Woods) moves into town, the Bennet house becomes a twittering, giggling mess.

At a local ball soon after his arrival, Bingley spends most of the evening dancing with the eldest Bennet, Jane (Rosamund Pike). She's the prettiest of the sisters by far, and therefore holds the brunt of the burden of marrying well and elevating the family to financial security. Bingley is accompanied by his conniving sister, Caroline (Kelly Reilly), and his long-faced friend Mr. Darcy (Matthew MacFadyen), who second-oldest daughter Elizabeth (Keira Knightley) overhears insulting her later the night of the ball. Lizzie thinks Darcy a big boor, and soon Bingley begins to question shy Jane's affections. As with any good Austen story, wrong impressions are made, bad people lie about good people, good people fall for bad people, and everything gets untwisted most pleasantly by the end.

Donald Sutherland is excellent as the father to all of the Bennet girls
Donald Sutherland is excellent as the father to all of the Bennet girls

But this is familiar information for many moviegoers who will flock to this flick. What's new, however, is the subtle symbolism throughout the film. Especially in the form of birds, which we see running wild on the Bennet property and sitting primly in cages—and each of those scenes is directly related to what's happening to the girls just before or after. For example, in one scene, Lady Catherine (played by the definitively regal Judi Dench) demands that Lizzie play something on the piano for their dinner guests. When Lizzie assures her she's not very good on the piano, Lady Catherine persists. Just behind our Lizzie in this awkward exchange are big cages of birds—mirroring what she must feel at the moment: caged by her society's expectations of what makes a proper woman, by her social standing and gender. Toward the end of the film when our girls are getting happily paired off, pay attention to the swans on the lake—their number and their apparent attitude.




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