This BBC production, set in the small town of Highbury depicts the often hilarious attempts of Miss Emma Woodhouse to make proper marital matches for all of her friends. Though often ...
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Jane Austen's last novel provides the plot for this earlier Granada miniseries. Set in pre-Victorian England, this movie tells the story of Anne Elliot, who now having lost her "bloom" is ... See full summary »
Emma Woodhouse seems to be perfectly content, a loving father whom she cares for, friends, and a home. But Emma has a terrible habit - matchmaking. She cannot resist finding suitors for her... See full summary »
Jonny Lee Miller
At age 10, Fanny Price is sent by her destitute mother to live with her aunt and uncle, Sir Thomas and Lady Bertram. As a child she was often made to feel that she was the poor relation but... See full summary »
Royal Navy captain Wentworth was haughtily turned down eight years ago as suitor of pompous baronet Sir Walter Elliot's daughter Anne, despite true love. Now he visits their former seaside ... See full summary »
Widow Dashwood and her three unmarried daughters, Elinor, Marianne and Margaret, inherit only a tiny allowance. So they move out of their grand Sussex home to a more modest cottage in ... See full summary »
This BBC production, set in the small town of Highbury depicts the often hilarious attempts of Miss Emma Woodhouse to make proper marital matches for all of her friends. Though often mistaken in her judgement, she is counseled and criticised by her neighbor and brother-in-law, the wise Mr. Knightley whose attentions to her are motivated by more than brotherly love. Written by
Teresa B. O'Donnell <firstname.lastname@example.org>
The characters are seen playing cards with a modern deck of cards that show both the suit symbol (hearts, clubs, spades, clubs) and a number on each corner. During the time period the movie was set in, playing cards did not show the number of the card in the corners. See more »
excellent & clever adaptation, and who cares about the settings?
I have just finished watching this adaptation of Emma for the first time and I feel I must openly declare here that it seems to me quite shameful that the Paltrow and the Beckinsale versions should be more often remembered. How that is to be explained I am at a loss to tell. It is true that John Carson may not look to be the epitome of Knightleyness, but he does a most excellent job of acting like Mr Knightley, and that is what one should care about, I say. Indeed, I was gratified by the sheer intelligence and sensitivity of all the actors in it, the director, the screenwriter and even the dress-maker or whatever she is called. The clothes and dresses may not all have been true to the times but most certainly they were thoughtfully true to the characters.
Also, wonder of wonders, there is no musical soundtrack to pester one's feelings telling them what to feel at every turn. What that does is it helps to make dialogues sound truthful, natural and issuing from people who are thoroughly engaged both as actors and characters in listening to each other.
Another thing that has contributed to place this in my estimation as the best extant adaptation of Emma is that there is no symbolic meddling with the story (excepting perhaps on the last tableau). One thing I love in Jane Austen which is of course not what there is to be loved in other authors is that nothing she writes has any symbols: every little thing is whatever it is, no less, no more. And I unconditionally praise the director John Glenister, the screenwriter Denis Constanduros and the producer Martin Lisemore for having seen that simple fact about Jane Austen and for having brought the book to life so clearly and so lovingly.
So three cheers for them, and five to Doran Godwin.
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