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Pride & Prejudice | |||
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R E V I E W B Y R I C H C L I N E |
dir Joe Wright scr Deborah Moggach with Keira Knightley, Matthew MacFadyen, Brenda Blethyn, Donald Sutherland, Rosamund Pike, Jena Malone, Tom Hollander, Judi Dench, Simon Woods, Rupert Friend, Kelly Reilly, Claudie Blakley release UK 16.Sep.05, US 23.Sep.05 05/UK Working Title 2h07 ![]() Shall we dance: MacFadyen and Knightley ![]() ![]() ![]() ![]() ![]() ![]()
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![]() Mrs Bennet (Blethyn) is at wit's end worrying over the future of her five eligible daughters. As it's 18th century England, marrying is especially important for girls from less-than-wealthy families. Mr Bennet (Sutherland), meanwhile, is at wit's end after living with six women for too long. The story's told through the eyes of second daughter Elizabeth (Knightley), who squares off against the sullen and apparently cruel, but very rich, Darcy (MacFadyen), and finds love when she least expects it. The plot and characters are so familiar that it's a real trick to put it on screen in an original way, but cast and crew find new life in it. Wright films with prowling camerawork that explores the environment and keeps everything squarely in Elizabeth's perspective, giving the story a more personal impact. The superior design and costumes avoid flowery excesses in lieu of simple authenticity. And performances are excellent; Knightley is a revelation, giving her first multi-layered star performance, holding every scene with a mixture of wit and emotion, and developing a terrific low-burning chemistry with MacFadyen. Blethyn is a splendid bundle of nerves, Sutherland is wonderfully soulful, and Hollander shines in the comic-relief role as Collins. Dench even turns up to show off her expertly towering imperiousness. Meanwhile, the script makes the most of Austen's iconic narrative and snappy dialog, leaving side characters on the side for a change and sharply highlighting class distinctions and desperate social situations. The Bennet girls' post-modern spirit may feel rather far ahead of their time, but this draws us in effectively, and the film's only false note is in the overwrought romantic climax, although even that is nicely internalised. So the nicest surprise is that the film is so delightfully entertaining that it sometimes makes us forget every other adaptation we've seen.
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![]() ![]() Michelle, Essex: Sara L Russell, West Sussex:
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© 2005 by Rich Cline, Shadows on the Wall
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