One More famous scenes of “Pride and Pregnancy” (2005) is the first marriage proposal. Even those who did not watch the beloved film Maybe you have an idea of the scene.
Under heavy rains, Mr. Academic (Matthew McFaden) – With wet hair falling hero Elizabeth Bennett: “I love you, burn.”
Anyone knows the story knows what is happening after that. Elizabeth (Keira Knightley) rejects it, and the two follow the opposite paths, while maintaining the tension of the novel and full of coming and going. But in Jane Austin’s original novel, the scene occurs inside, without rain or continuous hills in the background.
In the book, with the lack of a real idea of the feelings of Mr. Darcy, his marriage proposal is a complete shock. Indeed in the release directed by Joe Wright, there are signs: tense breaths, tense hands and thick sexual tension enough to be cut with a knife.
These are just some of the elements that distinguish this version of “pride and prejudice” from the original novel. It is one of the reasons why this film echo with those who are not considered a fan of Austin.
Wright version of “Pride and Pregnancy” Return to theaters The Americans this week, to celebrate twenty years of its launch. Therefore, we reconsider how, exactly, the film continues in the magic of the audience – the body and the soul.
The film is transmitted from Austin’s novel
While “Pride and Pregnancy” was adapted to many distinctive style series and modern versions, Wright is only the second air conditioning of believing films, along with the 1940s, starring Jarir Garcon and Lawrence Olivier.
Even her appearance for the first time 20 years ago, the 1995 BBC series, with Colin Vart in the role of Mr. Darcy, was seen as the most symbolic visual adaptation. Many Austin fans still prefer this version, which is more than five hours, romance.
But as shown in the scene of the marriage proposal, the freedoms that Wright take with the text contribute to the magic of her adaptation.
Although Deviony Dooser, an expert in Jin Osten and author of “Wild for Austen” in the future, thought about her classification in 1995, and says most of her students prefer 2005 movie. Over time, she also realized her advantages.
Wright’s approach to Mr. Darcy is one of the main teams. In the original text – as well as to a large extent in the 1995 version – the character is far and harsh. His feelings are largely hidden, which makes the first marriage suggestion surprise, according to Azer.
Darssi McFine is different. Although he is still reserved, he is more independent and tortured, and the audience clearly sees the influence that Elizabeth spoke to him. It is misunderstood and full of desire, more than just unpleasant. This makes him desirable – not only for Elizabeth, but for those who watch the movie.
Wright was not the first to make Mr. Darcy attractive to the public; In fact, this idea appears about “the charming Darsi” in many modifications in the twentieth century, according to a minister. But Wright deepens romantic tension. And, as spectators, we are a drug addict.
“The public has something to invest emotionally,” says a minister. “I also think, in the sexual desire of Darsi, he speaks visually.”
Note the scene in which Jin (Rosammund Pike), Elizabeth’s sister, noticed in Nirfield, where Mr. Darcy and her friends are temporarily residing. When Elizabeth will visit her, we heard Caroline Bengley outside the scene, saying that she looks “in the Middle Ages positively.”
But the camera focuses on Mr. Darcy’s latitude – that is, we do not see the muddy Elizabeth dress or dirty shoes. Instead, the camera takes a long time in its wide eyes and loose hair – a remarkable variation with the concentration of the book and other adaptations, according to Ariobe. The audience has a glimpse of the tense and confused feelings.
There is also a famous “fold of hand” scene, well known that distributed focus features now sell T -RATS and SweatShirts with extended MacFadyen’s hand.
In the scene, Mr. Darssi Elizabeth helps climb. When she enters, she still holds her hand, she takes out the comfort of her hand, turns and walks away as she watches her confusion. Then he praises his hand, as if he had shocked – at all from the emotional electricity caused by its touch.
Wright says this is a visual glimpse of Darcy’s mind and feelings, as he says to a minister – something that Austin does not do. This tension, which was built throughout the film, is receiving the audience’s attention and fills even the most daily moments of distress.
But “pride and prejudice” Wright is not just a love story. Although many modifications reveal the emotional interior of Darsi, Wright expands this view to all characters, according to Justin Smith, professor of the history of films and television at the University of Montvport in Leicester, England.
See Mary (Talola Riley), Elizabeth’s sister. When the young woman announces that she rejected the suggestion of Mr. Collins, the Wright camera focuses on Marie, whose face is filled with the gloomy expression.
“It seems as he said,” I would like to say, if he asks me, “Smith says.
Smith says that these small windows bring all characters to life, in a way that does not occur in other versions. They create together a rich world for the public to dive.
In addition to the novel, Wright’s “pride and prejudice” is a family story – and who does not sympathize with a mother with injury or jealousy among the brothers?
Today, the film echoes differently
When it was released, “Pride and the Pregnancy” from Wright was a great success at the box office, collecting more than $ 121 million worldwide, with a budget of $ 28 million (about $ 164 million) and a group of young talents.
Critic Roger Ebert gave the movie, which was nominated for four Academy Awards, the maximum note: Four Stars. The soundtrack is full of soft piano and bird corner. The camera wanders through the green hills. Each plate looks like a plate.
But restarting occurs at a time differently from 2005. Theaters are declining, analysts are no longer the end of the intermediate budget films, and romantic dramas are not common as before. Although this does not take the beauty of the movie, today the audience sees this with a distinct appearance.
People were flourishing in theaters to see adaptation in 1940, which was produced during World War II as part of an attempt to raise morale, according to Depora Cartel, professor of English at the University of Montvport and a specialist in adaptation studies. The audience was eager to England nostalgia – “worth defending it.”
She says something is similar to be at stake today. “Watching the movie makes you feel real nostalgia since 2000,” says Cartel. “In such turbulent times, it is a comfortable story that must be followed.”
There is also something reassuring to see two people meet and fall in love – not perfect, but in a way that looks natural and correct. Today, when most novels occur through applications and text messages, they can see a nostalgia face, according to Samith.
“The films remind us of the tangible and intense nature of human emotion,” Smith says. “It may seem exaggerated, but I think we miss the romantic conquest and the loving conquest that precedes the rituals and agreements in the digital age.”
Drama and prejudice reminds us of “pride and prejudice” I saw in this organic way more to meet someone, and to know who she – and falls in love. This, as Smith says, is something worth celebrating.
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