Orgoglio e pregiudizio

Viewed solely as a movie, this version of "Pride and Prejudice" is quite enjoyable, and has plenty of strengths. Since it was adapted from a stage play that was in turn based on the novel, it is perhaps inevitable that there would be a lot of differences from the original, both in the characters and in the events (plus a few anachronisms). Most of the time, these fit in all right with the story, but it is hard not to feel that it would have been an even better film if they had stayed closer to the original in the later parts. In all honesty, though, none of this prevents it from being a very good movie in its own right.

For the most part, the main story is the familiar one, following the hopes and anxieties of the Bennet family as they look for husbands for their five daughters. Greer Garson might be slightly different from the Elizabeth of the novel, but she is very appealing, and her character is quite effective. Laurence Olivier works very well as the prideful Darcy. Most of the supporting cast also is good, especially Edmund Gwenn as the perpetually bemused Mr. Bennet. It does a good job of illustrating the main themes in the relationships amongst the characters, while also providing many light and humorous moments. It's an entertaining and effective mix that makes it a satisfying movie despite the departures from the novel.

Even ignoring my new-found passion for Austen (yes, I'm one of those) and the fact that I had just finished reading P&P literally days before viewing this version of it, I find it hard to believe that so many reviewers find anything of value in this unfortunate production - clearly stamped out on the MGM studio factory line, with little care or thought, like so many of the films of the period. Fortunately, my love of the novel, and of the superior Ehle/Firth version, allowed me to dismiss this with very little pain.

With that said, though, I still must comment on one thing that really seemed to miss the mark, and that I don't see mentioned elsewhere, and that was the way the Bennet sisters were presented. They ALL seemed like silly little girls and, although Garson's Elizabeth had an opportunity to demonstrate how "modern" her thinking was, she still came off as comical, not to be taken seriously. Austen made a very clear distinction in her work, between Lizzy and Jane on the one hand (intelligent, reflective, serious and sensitive) and their 3 younger sisters (flighty, man-hungry, vacuous), and that difference provided a potent (frequently humourous) backdrop to the character development and plot in her work. This version didn't even come close to presenting such a distinction.

Others' comments take care of the rest of my objections to this drivel, so I won't repeat them here. But I will add that even Olivier couldn't save it for me. He seemed the same person throughout the entire movie. Charming, yes, but did he show any sign of having accomplished the transformation that Elizabeth helps bring about in him in the real story? Did he learn anything about himself in the course of his relationship with her - other than her superior skill at archery (which, in its attempt to show her to be full of surprises and quite capable of upsetting Darcy's composure, only added to all the silliness).

The novel helps us understand how bright, intelligent and introspective individuals can accept their limitations, change their way of thinking about others and themselves and grow tremendously in the process. This MGM outing was more like an Andy Hardy movie with pretty costumes and a faux British setting.

Like most early Hollywood films based on classic novels, the script alters the novel considerably, but not as much as much as they usually were. As it happens, even with the changes this is a charming and endearing film.

Mary Boland as Mrs. Bennet, Edna May Oliver as Lady Catherine De Burgh, and Melville Cooper as Mr. Collins eat the scenery in their respective roles. They give some of the best supporting player performances that I ever remember seeing in early films. They manage to steal scenes from the greatest actor of the 20th century and making him look good at the same time!

Maureen O'Sullivan is charming as Jane, but of course Greer Garson is fabulous as Elizabeth even if she doesn't fit my idea of Elizabeth.

I recommend this movie highly as a nice addition to any classical movie collection.

This film is really just 'based on' the novel and enthusiastically takes liberties with the costumes, characters, time period, etc. But if you can set aside your expectations of accuracy, and imagine this film as a stand-alone piece, you won't be disappointed. After all, if the basic Pyramus and Thisbe romance can be remade and reworked a hundred different ways, why shouldn't Bennet and Darcy? Aldous Huxley's screenplay is razor sharp, the plot gallops along, the characters are wisecracking and witty, and though I have probably watched this film more often than any other film I own, It still feels fresh and surprisingly modern. Only 'His Girl Friday' can best the deliciously quick dialog Huxley penned for his female lead.

The last movie I watched before this one was the Mystery Science Theater edition of Devil Doll, and I'm hard pressed to say which movie has less to do with Jane Austen. Everything about this film screams MGM Assembly-Line, from the astonishing banality of the script (Huxley Shmuxley!) to the insufferable "music" to the look-at-us-we're-vaguely-19th-century costumes. Olivier's performance is so fey it's a wonder he doesn't float off the screen, Garson tiptoes around Lizzy as though terrified she might say something offensive, and Melville Cooper accomplishes the superhuman task of making Mr. Collins unfunny. This monstrosity is to the 1995 BBC mini-series as a comic-book version is to the novel itself.