Sparks fly when spirited Elizabeth Bennet meets single, rich, and proud Mr. Darcy. But Mr. Darcy reluctantly finds himself falling in love with a woman beneath his class. Can each overcome their own pride and prejudice?
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 »
Emma Woodhouse (Romola Garai) seems to be perfectly content, to have a loving father for whom she cares, friends, and a home. But Emma has a terrible habit, matchmaking. She cannot resist ... See full summary »
Jonny Lee Miller
At 10, Fanny Price, a poor relation, goes to live at Mansfield Park, the estate of her aunt's husband, Sir Thomas. Clever, studious, and a writer with an ironic imagination and fine moral ... See full summary »
Jonny Lee Miller,
Anne was in love with Frederick, who was rejected by her snobby parents 8 years ago. They've now hit hard times and rent out their mansion to his brother-in-law. He returns a Royal Navy captain. Will he remember Anne?
When Mr. Dashwood (Tom Wilkinson) dies, he must leave the bulk of his estate to the son by his first marriage, which leaves his second wife and their three daughters Elinor (Dame Emma Thompson), Marianne (Kate Winslet), and Margaret (Emilie François), in straitened circumstances. They are taken in by a kindly cousin, but their lack of fortune affects the marriageability of practical Elinor and romantic Marianne. When Elinor forms an attachment for the wealthy Edward Ferrars (Hugh Grant), his family disapproves and separates them. And though Mrs. Jennings (Elizabeth Spriggs) tries to match the worthy (and rich) Colonel Brandon (Alan Rickman) to her, Marianne finds the dashing and fiery John Willoughby (Greg Wise) more to her taste. Both relationships are sorely tried.Written by
When Marianne and Margaret stand on top of the hill in the rain, Marianne's dress is wet. When she runs down the hill, it is suddenly mostly dry. Then when she trips and falls down, her dress changes to totally sodden through and dirty between shots. See more »
Jane Austen: This is her first and most human-centered work. More than cruel commentary on society this is -- Deft work.
Emma Thompson: Her former husband is a decent actor, but his genius is in understanding how to cinematize Shakespeare -- no small challenge and no small talent. I'm thinking of how he would later put Kate's Ophelia in a padded cell! What Emma has done here is change a detached narrative text into discrete scenes anchored by dialogue. A cursory comparison with other Austen films (except the later 'Emma' which borrows much from this) will bear this out.
Ang Lee: This is Lee's first English film, and already since he has established himself as a sensitive master of vision, like Ridley Scott and Steven Soderbergh. Lots of sensitive uses of the space, especially doorways. Many hard/soft contrasts (which he equates with sense and sensibility which is okay). He is a subtle visualist. Subsequent work is more confident than this, but its all softly refined, understated.
Kate Winslet: All of the above are the results of first seriously public efforts and Kate's case is the same. At this writing seven years later, she is one of the anchors of multidimensional film acting. Kate makes this whole thing live. Austen's stance is one of self-aware storytelling: she is at once IN the story and OUTSIDE it, commenting on it. That's something that Kate already had mastered this early: she acts both the role and the girl acting the role.
Honorable mention: Emilie Francoise, whose screen presence is rather remarkable.
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