One of the most iconic scenes in “Pride & Prejudice” (2005) is undoubtedly the first proposal scene. Even those who have yet to watch this beloved film likely recognize the dramatic moment. Pummelled by rain, Mr. Darcy, portrayed by Matthew Macfadyen, stands with wet hair flopping against his forehead as he confesses his deep adoration to the spirited protagonist, Elizabeth Bennet, played by Keira Knightley: “I love you, most ardently.” For anyone familiar with the story, the subsequent denial from Elizabeth marks the beginning of their tumultuous will-they-won’t-they romance. However, it’s crucial to note that in Jane Austen’s original novel, this pivotal scene unfolds indoors, devoid of rain or rolling hills, and Mr. Darcy's proposal comes as a complete surprise to Elizabeth and the readers alike.
In director Joe Wright’s interpretation, there are subtle hints throughout the scene: held breaths, hand flexes, and a palpable sexual tension that permeates the air. These elements set this version of “Pride and Prejudice” apart from Austen's text and one of the reasons why the film has captured the hearts of even those who may not identify as Austen enthusiasts. As the film returns to theaters this week in honor of its 20th anniversary, it’s worth examining how it continues to enchant viewers on multiple levels.
While “Pride and Prejudice” has inspired numerous miniseries and modern adaptations, Wright’s film is recognized as one of the most faithful adaptations alongside the 1940 movie featuring Greer Garson and Laurence Olivier. Prior to this film's debut 20 years ago, the 1995 BBC miniseries starring Colin Firth as Mr. Darcy was considered the definitive visual interpretation. Many Austen fans cherish that version for its fidelity, which spans over five hours. Yet, as illustrated in the proposal scene, the creative liberties that Wright takes enhance the allure of his adaptation.
According to Devoney Looser, a Jane Austen scholar and author of the forthcoming book “Wild for Austen,” while she personally favors the 1995 BBC miniseries, many of her students gravitate towards the 2005 film. Over time, she has recognized the film's distinct qualities. One significant difference lies in Wright’s portrayal of Mr. Darcy. In both the original text and the 1995 adaptation, Darcy is often portrayed as distant and prickly, leaving his true feelings concealed. Consequently, his first proposal shocks Elizabeth. In contrast, Macfadyen’s Darcy, though still aloof, exhibits a more brooding and tortured persona, allowing viewers to see how Elizabeth’s presence profoundly impacts him. This makes him not only appealing to Elizabeth but also to the audience at large.
Wright’s emphasis on romantic tension creates an emotional investment for the audience. Looser notes that the film visually conveys Darcy’s sexual desire and emotional turmoil. One standout scene occurs when Elizabeth’s sister Jane, portrayed by Rosamund Pike, falls ill at Netherfield, where Mr. Darcy and his companions are staying. As Elizabeth visits, viewers hear Carolyn Bingley’s off-screen comment that Elizabeth appears “positively medieval,” yet the camera focuses on Darcy’s gaze, emphasizing his fascination with Elizabeth rather than her muddy dress. This shift in perspective allows the audience to glimpse the intense and awkward feelings that Darcy harbors.
Another memorable moment is the famous hand flex scene, so iconic that distributor Focus Features now offers merchandise featuring Macfadyen’s outstretched hand. In this scene, Mr. Darcy assists Elizabeth into her carriage. As he releases her hand, the tension is palpable; he flexes his hand as if shocked by the emotional electricity that her touch ignited. This visual insight into Darcy’s psyche is absent from Austen’s narrative, yet it is precisely this tension that captivates audiences and imbues even the simplest interactions with a sense of heat.
However, Wright’s “Pride & Prejudice” transcends the confines of a mere love story. Unlike many adaptations that primarily focus on Darcy’s internal struggles, Wright extends this lens to all characters, as highlighted by Justin Smith, a professor of cinema and television history at De Montfort University in Leicester, England. A notable example occurs when Elizabeth’s sister Mary, played by Talulah Riley, reacts wistfully when Elizabeth declines Mr. Collins’s proposal. This small yet significant moment hints at a backstory that enriches her character, creating a vibrant world for viewers to immerse themselves in.
Upon its initial release, Wright’s “Pride & Prejudice” was a commercial success, grossing over $121 million worldwide on a modest $28 million budget. The film received critical acclaim, including a four-star rating from renowned critic Roger Ebert, and garnered four Academy Award nominations. The film’s lush soundtrack, featuring lilting piano melodies and birdsong, combined with sweeping shots of rolling hills, crafts every frame as a picturesque painting.
However, the current re-release occurs against a backdrop markedly different from its 2005 debut. Today's movie theaters face challenges, with analysts lamenting the decline of mid-budget films and the waning presence of romantic dramas. While these factors may not detract from the film's beauty, contemporary audiences engage with it through a unique lens. The 1940 adaptation, released during World War II, provided a nostalgic escape for audiences yearning for a glimpse of an England worth fighting for. Deborah Cartmell, a professor of English and adaptation studies expert, suggests that a similar nostalgia might resonate today. “Watching it makes you feel really nostalgic for 20 years ago,” she explains, “In these turbulent times, it’s a really reassuring tale to look at and enjoy.”
In an era where dating is often mediated through apps and text messages, the genuine face-to-face interactions depicted in Wright’s film evoke a sense of nostalgia for a more organic form of romance. Smith highlights that films like “Pride & Prejudice” remind us of the raw emotions and human intimacy that comes with truly knowing someone in physical spaces. “This may sound far-fetched,” he notes, “but I think we may have a nostalgia for romance and courtship that predates the rituals and conventions of the digital age.” Ultimately, the drama of Wright’s adaptation serves as a celebration of this timeless journey of love and connection.
