1. Pride & Prejudice (2005)
Now, hear me out: the 2005 version of Pride And Prejudice, directed by Joe Wright, gives the story the respect it deserves while condensing it into 127 minutes. It offers the viewer a vivacious cast, breathtaking scenery and a magnificent soundtrack - if Dario Marianell's romantic rolling piano scales don't make your heart happy, I'm sorry for you. Yes, this version suffers from modernisation, and yes, of course a miniseries that spans over 5 hours offers greater depth and detail, but for a film, this does a remarkable job at condensing the story and keeping the wit and spirit of the novel. The two leads, Keira Knightley and Matthew Macfayden, have a kind of chemistry I have yet to see in any other adaptation. The romance here is predominant over the drama and manages not to eclipse it. Ultimately, I'm on board with Wright's decision to cast younger leads - Knightley was 20 when she played Lizzie. I realize that so many P&P fans abhor this version, or prefer previous versions, so let me try and defend these choices. What's wonderful about Macfayden's Darcy is that he doesn't try to emulate Firth's - instead he achieves a new vision of Darcy while managing to stay true to the novel's character. He broods, but maintains a sense of humor and sensitivity that is visible on screen. When it comes to Lizzie, we have to remember that Austen wrote her as a young, imperfect woman. If Lizzie were a perfect match, she would've been married off already. Jane being the most fawned over sister in terms of her manners and beauty is so often forgotten because Lizzie is so relatable to us as readers. (The characterization and casting of Jane is another thing the '05 version did better than other versions.) What Knightley brings to her interpretation of Lizzie is a complexity and vitality - she is witty, but playful. Whereas I'd argue Ehle's Lizzie was too matronly, Knightley manages to supply us with a more fiery and youthful heroine who has rough edges. Considering the girl we all know from the novel, Wright and Keira's vision of Lizzie is more truthful, even if in some ways more modern. Another aspect of this version that really works is the cinematography - the misty fields, the winding country roads and the soft mountains portray an environment that accentuates the gentle manners and passionate complexities beneath the layers of the characters gowns and ruffled shirts. The beautiful locations in this production serve as natural settings for the drama of human experience. The criticisms about the dialogue and manners of many of the characters being too modern is valid. Women of the Regency period were not so liberated as to leave home without wearing bonnets. And the early morning scene in which Darcy proposes to Lizzie a second time is madly romantic, but a bit ridiculous - when Elizabeth, in her nightgown, meets Darcy, sans cravat and vest, is a vicious historical inaccuracy to many. Clumsy dialogue in many places takes away from some of the scenes, and this is highlighted with Simon Wood's version of Bingley. He is incredibly sweet and charming, but he seems to be hitting the wrong notes - he comes off as an idiot during most of his scenes. And that North American "Mrs Darcy" ending was almost enough to ruin the film - so unfortunate. Although I know some people who enjoyed seeing Lizzie and Darcy get their closure. I will concede that the dialogue and script in the 95 miniseries are truer to the novel - but the directorial and stylistic choices in the movie seal the deal. In screen adaptations, visualization of emotional truths can be more important than linear accuracy to the text. Take, for instance, Wright's focus on his actors hands. (You can also see similar shots in Atonement.) Particularly the scene in which Darcy is helping Lizzie into the carriage - that unexpected outstretch of Macfayden's hand was electric, and goes a long way in his characterization and feelings towards Lizzie. This version feels more real and tangible compared to the mannered, almost museum like austerity of previous adaptations. I like that the Bennets have unkempt hair, I like seeing houses that don't look like museums, and I like that women's hems are sometimes muddy - the book does states that the Bennets had a working farm as part of the Longbourn estate, which some people tend to forget. Even though the two previous miniseries are better at getting many of the details right, this version comes closer to getting at the novel's romantic heart. Ultimately, it's a really good thing we have multiple adaptations to keep us all happy, because I'm sure P&P fans will disagree until the end of time about which versions reign supreme. The '05 film resonates with me and my love for the novel most strongly, and until we get another adaptation(which will hopefully be soon!) I will continue to argue that it is the best one we have. Which is your favourite Pride And Prejudice adaptation? Share your thoughts and opinions in the comments section below.