Pride and Prejudice (1940)
Directed by Robert Z. Leonard
In early 19th century England, Mr and Mrs Bennet's five unmarried daughters vie for the affections of rich and eligible Mr Bingley and his status-conscious friend, Mr Darcy, who have moved into their neighbourhood. While Bingley takes an immediate liking to eldest daughter Jane, Darcy has difficulty adapting to local society and repeatedly clashes with second-eldest Elizabeth.
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What critics compared Pride and Prejudice to
And in the movie's sly construction, she also discovers a great deal of the plot of Pride and Prejudice, beginning with Mr. Lefroy as the original for Mr. Darcy.
Before becoming the famous author of "Pride and Prejudice" and "Emma," Jane Austen (Anne Hathaway, "The Devil Wears Prada") was torn between her passion for rebellious metropolitan law student Tom Lefroy (James McAvoy, "The Last King of Scotland") and her family's preferred suitor, the wealthy Mr. Wisley (Laurence Fox, "Gosford Park").
I had never before considered her as a cricketer, for instance, and I am fairly sure that she never sought to elope, but I enjoyed both inventions—the one bucolic and triumphant, the other sodden and frustrated, and presumably meant as a precursor to Lydia’s running away with Wickham in “Pride and Prejudice.”
But the filmmakers seemed to want to cast a story better suited to the melancholy mood of "Persuasion" in the effervescent tone of "Pride and Prejudice," giving it much the same sassy makeover Fanny Price got in Patricia Rozema's adaptation of "Mansfield Park."
Smith's character, for example, is awfully similar to Lady Catherine du Bourgh in "Pride and Prejudice."
“Becoming Jane” is a film that purports to tell the true story of the early days of beloved authoress Jane Austen by focusing on the events that allegedly inspired her to write her best-known book, “Pride and Prejudice.”
The first and only hint that Fire Island is inspired by the works of Jane Austen is a quick shot of a copy of Pride and Prejudice on Noah’s (Booster) nightstand.
Summer is here, and the ideal LGBTQ film to satisfy any hot weather lethargy or romantic yearnings has arrived in "Fire Island," a multicultural gay rom-com set in the iconic enclave, The Pines —often referred to as America's first lavender town— with a modern updating of Jane Austen's classic "Pride and Prejudice."
The Pitch: Right from the jump, thanks to the voiceover of Noah (Joel Kim Booster) and a carefully planted copy of Pride and Prejudice, Fire Island tells you what it’s going to be — a retelling of the Jane Austen classic tale, relocated to a place and time that Jane Austen would have had a very hard time imagining: the titular gay party mecca centered in the hamlets of Cherry Grove and Fire Island Pines.
“Fire Island” is loosely inspired by Jane Austen’s 1813 novel “Pride and Prejudice,” but the movie is bound to become its own kind of classic for how it vibrantly depicts the real Fire Island’s hookup culture and the families by choice who flock to the island for fun and pleasure-seeking.
There are occasional heartbreaks and other relationships that falter in this tale, which announces its inspiration from Pride and Prejudice with its opening narration.
And yet — in shades of the film’s inspiration, Jane Austen’s “Pride and Prejudice” — their tender, open-hearted diversions feed every corner of this romping rom-com.
British director Joe Wright has had considerable success with adaptations of Jane Austen (Pride and Prejudice) and Ian McEwan (Atonement), so he's well-prepared to take on Russian novelist Leo Tolstoy's timeless Anna Karenina.
Keira Knightley is hardly in the same league with those icons, but she makes a decorative centerpiece in this troubled remake by her mentor, director Joe Wright, who guided her in two previous films, Pride and Prejudice and Atonement.
The last time director Joe Wright (“Atonement,” “Hanna”) teamed with Keira Knightley on an adaptation of classic literature (“Pride and Prejudice”), she scored a Best Actress Oscar nod.
Director Joe Wright and his favorite star, Kiera Knightley (“Pride and Prejudice,” “Atonement”) have produced a ravishing, highly theatrical version of Leo Tolstoy’s classic “Anna Karenina.”
After all, I liked the 2005 version of "Pride and Prejudice" that just so happened also to feature this film's star & director combo of Keira Knightley (in front of the lens) and Joe Wright (behind it).
Leo Tolstoy's novel is the subject of a lavish and ambitious new screen treatment from British director Joe Wright ("Pride and Prejudice," "Atonement"), a guy who's never erred on the side of caution.
If one is to judge the new film version of Ian McEwan’s award-winning novel — brought to the screen by writer Christopher Hampton (“Dangerous Liaisons”) and director Joe Wright (“Pride and Prejudice”) — for its fidelity to the source material, “Atonement” is certainly a success.
Here she reunites with director Joe Wright, who helmed the 2005 version of "Pride and Prejudice," for which she received an Academy Award nomination.
Director Joe Wright (“Pride and Prejudice”) gives the film an elegant sheen and constructs scenes sturdy enough to bear the philosophical weight assigned to them.
Bottom line: Although this should've been the film on which director Joe Wright stepped up to the big leagues, it's actually less successful than his surprisingly satisfying debut "Pride and Prejudice."
Big question: Can director Joe Wright adapt Ian McEwan's novel to replicate the lush period sensibility and critical acclaim of his last movie, "Pride and Prejudice"?
The last time Keira Knightley and director Joe Wright tackled a beloved British novel, they hit the jackpot with "Pride and Prejudice."
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Mr. Darcy, Austen’s dashing, debonair creation from Pride and Prejudice, represents the perfect man to Jane, and she won’t settle for a lesser man.
Not able to find a man who lives up to Pride and Prejudice’s Mr. Darcy, she’s remained single, hoping for 19th-century-style romance.
Now, as a single thirtysomething, she still holds on to the Austen ideal of a perfect romance, and would rather watch the 1995 BBC miniseries of Pride and Prejudice than interact with an actual man in real life.
Since Stephanie “Twilight” Meyers is a producer on Austenland , the following question is fair game: Why are readers who fangirl out about Mr. Darcy from Jane Austen’s “Pride and Prejudice” embraced or applauded while devotees of whatever-that-sparkly-vampire-dude’s-name-was are chided?
She’s an Austen super-fan: Also prominent in that apartment is a cardboard standee of Colin Firth as Mr. Darcy in the BBC Pride And Prejudice miniseries, and the words “Darcy Was Here” spelled out in wooden letters above her bed.
Some channel her with success (“Clueless,” an “Emma” update, and “Bridget Jones’s Diary,” a “Pride and Prejudice” homage, as well as the “Sense and Sensibility”-lite novel, “The Three Weissmans of Westport”), but attempts to recapture her wit, insight into behavior and gentle romance face an uphill battle.
Robin Swicord’s The Jane Austen Book Club, from her own screenplay, based on the eponymous novel by Karen Joy Fowler, succeeds only partially and only intermittently in establishing connections between six contemporary central Californian members of a Jane Austen book club and the Regency England characters in Austen’s six novels, which, in case you’ve forgotten, are Mansfield Park, Emma, Northanger Abbey, Pride and Prejudice, Sense and Sensibility and Persuasion.
The setting is Sacramento, where five women and one man meet to discuss Jane Austen's novels while their lives come together and pull apart in ways that seem lifted from the pages of "Emma" and "Pride and Prejudice," et al.
I found it to be far too much Bollywood and far too little - except conceptually - of Jane Austen's "Pride and Prejudice."
Directed by Gurinder Chadha, from a screenplay by Chadha and Paul Mayeda Berges, based on the novel "Pride and Prejudice" by Jane Austen.
A cross-cultural adaptation of Jane Austen's "Pride and Prejudice" set in modern-day Bombay, London and Los Angeles, this is a trite, flimsy, groundless romance of shallow character stereotypes, ethnic hypocrisy, and horrible songs.
Pride and Prejudice , of course, serves as a primary source of that inspiration, if only because the eponymous character, an outwardly stern but secretly kind man of exacting manner and particular tastes, so matter-of-factly reflects Mr. Darcy, the most enduring of men from Austen's oeuvre.
The ‘love across class divide’ plot certainly reminds me of Pride and Prejudice .
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In what I believe is director Jane Campion's answer to "Pride and Prejudice," the act breakdown reveals two currents flowing through this intense love story that involves poet John Keats who, though published and penniless, was posthumously destined to take his place alongside Lord Byron and Shelley as the key contributors of the Romantic movement in 19th century English literature.
She's not a quick-tongued wit, like Pride and Prejudice 's Elizabeth Bennet.
And as a result, this well-acted, smart drama is sure to appeal to fans of classy literate period dramas, such as the Merchant-Ivory productions, or the Oscar-nominated adaptations of Jane Austen's "Sense and Sensibility" and "Pride and Prejudice."
A director can generate non-explicit sexual attraction in a period piece: Watch Joe Wright's Pride and Prejudice, and tell me Mr. Darcy and Miss Bennet don't long to rip off one another's pantaloons.
It has some of the same emotional power and enchantment as the 2005 movie version of Pride and Prejudice .
There are mordant echoes here of the five Bennet daughters in Pride and Prejudice, whose mother's anxiousness to get them married off is a matter of financial rather than moral urgency.
Cowritten with Alice Winocour, the story suggests a Turkish “Virgin Suicides” with bits of “The Wolfpack” and “Pride and Prejudice” folded in.