Keira Knightley

Matthew Macfadyen

Brenda Blethyn

Donald Sutherland

Tom Hollander

Rosamund Pike

Jena Malone

Judi Dench

Kelly Reilly

Claudie Blakley

Peter Wight

Penelope Wilton

Simon Woods

Rupert Friend

Carey Mulligan

Talulah Riley

Sylvester Morand

Pip Torrens

Janet Whiteside

Sinead Matthews

Roy Holder

Jay Simpson

Rosamund Stephen

Samantha Bloom

Cornelius Booth

Meg Wynn Owen

Tamzin Merchant

Moya Brady

Mark Arends

Bret Jones

Liam Thomas

Tim Bevan

Jacqueline Durran

Jina Jay

Katie Spencer

Dario Marianelli

Roman Osin

Joe Wright

Eric Fellner

Deborah Moggach

Nick Gottschalk

Paul Webster

Paul Tothill

Sarah Greenwood

Jane Austen

Courtney Bishop

Andre Schmidt

Ed Colyer

Andie Derrick

Peter Gleaves

Peter Burgis

Becki Ponting

Steve Browell

Colin Cooper

Sarah Love

Charlotte Finlay

Sue Westwood

Mark Swain

Sue Hills

Nick Angel

Guy Heeley

Gemma Richards

John Moffatt

Debra Hayward

Fae Hammond

Simon Fraser

Tracey Lee

Sharon Martin

Liza Chasin

Danny Hambrook

Joanna Foley

Sophie Tyler

Andrea Cripps

Andy Taylor

Jane Gibson

Claire Tovey

Vivien J. Reily

Paul Hamblin

Jane Frazer

Alex Hope

Ian Bailie

Thomas Napper

Kirsten Lane

Drama

Romance

Pride & Prejudice

Universal Pictures

StudioCanal

Working Title Films

Scion Films

France

United Kingdom

United States of America

English

Andres Gomez

Good adaptation and performances from Knightley and MacFayden.

Peter McGinn

When I watched this version of the Austen classic prior to packing the DVD away for a move, I assumed ahead of time it would stay nestled behind the Colin Firth version as my second favorite adaptation of Pride and Prejudice. Now, however, pending my watching the other version again, this might indeed be my new favorite. Not due to any major differences in acting ability or in the writing, but rather for the way it nails down the little things, the stuff I may not have noticed the first time or two I watched it.

One simple example is of the portrayal of Mary, one of the servants in the Bennet household. She says hardly anything during the course of the movie, but a couple of times we follow her while she is singing as she works, and I found it utterly charming. And I think it illustrates, whether or not it was intended, that this is a pleasant house that servants did not dread to start their work days in. 

There is also at one of the balls a long scene of dancing that shows several of the characters who are involved in subplots going on, all within this continuous shot. It is clever, and on one website it is said the camera was left running by accident; a happy accident if you ask me. Also, a few of the scenic moments, such as one time when Elizabeth merely stares lost in thought in the middle of great beauty, are amiable natural breaks in the action.

The acting is very good, of course, with this cast, but also their attitude is perfect. Brenda Blethyn excels in the thankless role of the silly mother, managing not to cross the line into looking outright ridiculous. Sutherland is — well, I will give any movie a try with him in it. Keira Knightly is, for me, astonishingly good. If you had described to me before I watched it the way, when she or her family is insulted, she looks jolted for a moment, but then with a short laugh or smile shakes it off, I would have said “Nope, that won’t work.” But it works. Her wit is sensational. I write fiction myself and always try to to feature witty female characters, and Elizabeth would fit right into my modern novels.

Dame Penelope Wilton is excellent as always, and Claudia Blakey shone as Charlotte. If pressed to find at least one small fault, I could only say that I think the writers and director (and possibly Jane Austen herself) may have underestimated Mary Bennet as a character. I have always thought that more could be done with her, in every version.

I am only sorry now I have to pack the DVD away for the movie, even if only for a few weeks.

Filipe Manuel Neto

**Overall, it's a good adaptation, even if it's not free of mistakes and problems.**

I believe that “Pride and Prejudice” is one of the most transported English novels to film and television. I've seen more than one adaptation, and each one has its merits and problems (however, it's generally agreed that the 1995 miniseries is the most perfect and canonical). This film is not as good as I would like it to be, it has several problems, but it is quite acceptable and also has positive notes to retain.

Here, the story we already know so well takes place in the final years of the 18th century. From what I saw, the director wanted to do this to avoid the fashion of the Regency period, which he doesn't like, and taking advantage of the fact that Austen wrote the early version of the book around this time. Well, I can say that I share the thoughts of the director, Joe Wright, when it comes to dresses from the Regency/First French Empire period. Aesthetically, they are much less interesting than the “bridal cakes” of the pre-French Revolution period, or the wide dresses that began to be worn in the Romantic period. The idea of these dresses, which greatly emphasize the woman's chest and then fall straight down like a nightgown, is in a way imitating what the Romans and Greeks were thought to wear. Even so, there are several errors in the way the characters were dressed, arranged, combed and characterized: basically, the director ignored everything that didn't suit him. That was a mistake.

The film is reasonably short for the literary work it brings, but I think it couldn't be otherwise. For the rest, the narrative is decently done, and the adaptation made to the source material is quite conscientious and tries not to cut important things. What I didn't like was the way certain characters were developed: Elizabeth became a wild girl and much less contained than would be supposed in the novel, for example. The rest, however, is quite satisfactory.

The film is full of great British actors: in addition to Keira Knightley, who manages well in the role of protagonist, we also have Rosamund Pike, Brenda Blethyn, Talulah Riley, Jena Malone and Judy Dench. Each did a fairly good job in the role assigned to them. We should also appreciate the work of Matthew MacFadyen, Donald Sutherland, Simon Woods and Tom Hollander. On a technical level, the film invests a lot in good sets, convincing and well-selected shooting locations and good props. The cinematography is also good and does an excellent job throughout the film, with enviable camera work and good colors and lighting. The film also has a good soundtrack.

Seen this one a couple of times and with my internet being out and wanting to revisit, decided to give it another watch. Still highly enjoyable and engaging romantic-drama with Keira Knightley and Matthew Macfadyen giving fine performances. **3.75/5**

CinemaSerf

You can't help but feel sorry for poor old "Mr. Bennet" (Donald Sutherland) in this drama. He is married to a domineering wife (Brenda Blethyn) and has five, yes - five daughters! They are upper-middle class, gentile and well-to-do but have a problem. The laws of inheritance insist that upon his death, their home shall pass to a distance cousin so it's important that the girls make as best a way in life for themselves as they can. That might be simpler for the beautiful "Jane" (Rosamund Pike) but for the others. Well there's the girlish "Kitty" (Carey Mulligan); the tomboyish "Lydia" (Jena malone); the studious "Mary' (Talulah Riley) and the independently minded "Elizabeth" (Keira Knightley). It's the last who is likely to prove the most problematic as she has no intention of just marrying the local cleric "Collins" (Tom Hollander) or some drippy soldier like "Mr. Wickham" (Rupert Friend). Indeed, she only just manages to stay on the right side of good manners at a supper with the imperious "Lady Catherine" (Dame Judi Dench) who is surprised by her youthful fortitude of character. As ever, though, with Jane Austin there is a degree of inevitability about the denouement and when we are introduced to the equally strong willed "Darcy" (Matthew Macfadyen) we know that for all of their dancing around each other, their sparring, strops and tantrums there will be a spark, and whether or not that spark manifests itself into true love is the purpose of this story. Along the way, the production designer and the costumers have filled their boots. The film oozes stately homes and fine costumes, the writing enlivens almost everyone - especially the on-form Blethyn whilst Dames Judi and Penelope (Wilton) bring some gravitas to offset the engaging effort from Knightley in a role the could almost have been written for her engaging performance here. The Darcy role is amiably enough played, but that role isn't really so important in substance - it's more about his dashing eye-candiness factor that is supposed to have the hearts a-fluttering. Dario Marianelli has written a score that complements the story almost perfectly and though I did think it just a bit too long, this is classily constructed assessment of the vagaries of human nature, snobbery, aspiration and sheer bloody-mindedness and is well worth a gander.

Pride & Prejudice

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