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Miss Austen Regrets (2008)

TV Movie  |   |  Biography, Drama  |  3 February 2008 (USA)
7.2
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Ratings: 7.2/10 from 2,041 users  
Reviews: 14 user | 4 critic

In the later years of her life, as she's approaching the age of forty, the novelist Jane Austen helps her niece find a husband.

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Sally Tatum ...
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Storyline

In the later years of her life, as she's approaching the age of forty, the novelist Jane Austen helps her niece find a husband.

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Genres:

Biography | Drama

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Release Date:

3 February 2008 (USA)  »

Also Known As:

Io, Jane Austen  »

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1.78 : 1
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Did You Know?

Trivia

The tan and brown print satin pelisse worn by an extra in the first church scene is the same costume worn by Anna Chancellor (Mrs. Peake) when she comes to the Worrall's house in Princess Caraboo (1994), by Sheila Gish (Mrs. Norris) to Maria's wedding in Mansfield Park (1999), by an extra during the French invasion in Goya's Ghosts (2006), and by Marion Bailey (Mrs. Croft) in Bath in Persuasion (2007). See more »

Quotes

Fanny Austen-Knight: You like Mr. Haden!
Jane Austen: He has very good teeth.
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Connections

Edited from The Real Jane Austen (2002) See more »

Soundtracks

Drowsy Maggie
(uncredited)
Traditional
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User Reviews

 
Olivia Williams Pulls It Off
6 June 2009 | by (United Kingdom) – See all my reviews

This film is so much better than 'Becoming Jane' (which deals with Jane Austen's earlier life), that it is really in another category altogether. Olivia Williams as Jane Austen in this film is scintillatingly brilliant, she truly becomes the character, and although she had already shown in 'The Heart of Me' (see my review) what a sensational actress she is, here she transcends herself. Rarely can an actress have so thoroughly 'become' a historical character as in this film. Olivia Williams has now proved that she is one of the finest actresses in Britain today. She is not vain, and is not afraid to look rough when necessary for the story, whereas Hollywood actresses do not ever want to be seen from the wrong angle, so that they become artificial. Olivia Williams really does seem to suffer with her character every step of the way. She also effervesces and bubbles with uncontrollable mischief and naughtiness, rebelling against the intolerable restrictions of life for a woman in those days. The pathos of Austen's solitary state, when women who were unmarried could not carry on any other relationships either, is vividly portrayed. Greta Scacchi is marvellous as the silent sister Cassandra, though it is hard for me to come to terms with her no longer being the dazzling starlet she was when younger, as I still envisage her as that. Imogen Poots is a mixture of charm and jealousy, feather-brained idiocy, and beaming smiles, even a touch of innate wisdom, in other words, just as full of contradictions as a real person. She pulls it all off, and we believe every aspect of her changing nature as it varies from circumstance to circumstance, laughing with her one minute and at her the next. Her versatility and instinct will doubtless bring her a fine career. Phyllida Law is marvellous as Mrs. Austen, the mother worn out by it all. Adrian Edmondson does a wonderful job as brother Henry, charming but hopeless, devoted brother and failed banker. The director, Jeremy Lovering, has never directed anything other than television material, but here he shows himself as a superb feature film director, albeit this was a film made for television. Let's hope he can now break out of the box. He is announced as director for 'The Wedding Party', and maybe that is for a larger screen. He has proved that he knows how to tease the best results out of his actors and actresses. This film is a genuine triumph, and everyone connected with it should be thrilled at the result, which could hardly be bettered. It is an instant classic, and long may it live its life as a DVD, avidly watched by anyone with an ounce of taste. And above all, what will the amazing Olivia Williams do next? Will she get all the plum roles she deserves? If there be any justice in the world at all, we will see no end of her from now every which way we turn.


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