Charlotte and Mr.
Collins get married and Elizabeth promises to visit them at their new home. As winter progresses, Jane visits the city to see friends hoping also that she might see Mr. However, Miss Bingley visits her and behaves rudely, while Mr. Bingley fails to visit her at all. The marriage prospects for the Bennet girls appear bleak. That spring, Elizabeth visits Charlotte, who now lives near the home of Mr.
PRIDE AND PREJUDICE
One day, he makes a shocking proposal of marriage, which Elizabeth quickly refuses. She tells Darcy that she considers him arrogant and unpleasant, then scolds him for steering Bingley away from Jane and disinheriting Wickham. Darcy leaves her but shortly thereafter delivers a letter to her. In this letter, he admits that he urged Bingley to distance himself from Jane, but claims he did so only because he thought their romance was not serious. This letter causes Elizabeth to reevaluate her feelings about Darcy. She returns home and acts coldly toward Wickham. The militia is leaving town, which makes the younger, rather man-crazy Bennet girls distraught.
With the arrival of June, Elizabeth goes on another journey, this time with the Gardiners, who are relatives of the Bennets. Suddenly, Darcy arrives and behaves cordially toward her. Making no mention of his proposal, he entertains the Gardiners and invites Elizabeth to meet his sister. Shortly thereafter, however, a letter arrives from home, telling Elizabeth that Lydia has eloped with Wickham and that the couple is nowhere to be found, which suggests that they may be living together out of wedlock.
Fearful of the disgrace such a situation would bring on her entire family, Elizabeth hastens home.
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Gardiner and Mr. Bennet go off to search for Lydia, but Mr. Gardiner had discovered the pair in London and that they had married. Lydia later lets slip to Elizabeth that Darcy was the one who found them and paid for their marriage. Bingley and Darcy suddenly return to Netherfield; Bingley proposes to Jane and she accepts. The same evening, Lady Catherine unexpectedly visits Elizabeth, insisting that she renounce Darcy. Elizabeth refuses the request and, unable to sleep, walks on the moor at dawn.
There, she meets Darcy, also unable to sleep after hearing of his aunt's behaviour. He admits his continued love and Elizabeth accepts his proposal. Bennet gives his consent after Elizabeth assures him of her love for Darcy. In the U. Given little instruction from the studio, screenwriter Deborah Moggach spent over two years adapting Pride and Prejudice for film.
She had sole discretion with the early script, and eventually wrote approximately ten drafts. I felt, 'If it's not broken, don't fix it.
Moggach's first script was closest to Austen's book, but later versions trimmed extraneous storylines and characters. But then I read the script and I was surprised I was very moved by it". It felt like it was a true story; had a lot of truth in it about understanding how to love other people, understanding how to overcome prejudices, understanding the things that separate us from other people The only adaptation of Pride and Prejudice Wright had seen was the production , which was the last time the novel had been adapted into a feature film.
The director purposely did not watch the other productions , both out of fear he would inadvertently steal ideas and because he wanted to be as original as possible. Wright's hire occurred while Moggach was on her third draft. I don't believe people spoke like that then; it's not natural. So I felt that the Bennet family's conversations would be overlapping like that. She advised the nervous director about adapting Austen for the screen and made dialogue recommendations, such as with parts of the Collins-Charlotte storyline.
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Citing the year Austen first wrote a draft of the novel, [note 1] Wright and Moggach changed the period setting from the novel's publication date to the late eighteenth century; this decision was partly because Wright wanted to highlight the differences within an England influenced by the French Revolution ,   as he was fascinated that it had "caused an atmosphere among the British aristocracy of fear".
Wright found casting of the film to be difficult because he was very particular about "the types of people [he] wanted to work with". She's a fully rounded and very much loved character. Webster found the casting of Darcy especially hard due to the character's iconic status and because "Colin Firth cast a very long shadow" as the Darcy. I didn't want a pretty boy kind of actor. His properties were the ones I felt I needed [for Darcy]. Matthew's a great big hunk of a guy. According to Wright, Rosamund Pike was cast as the eldest sister "because [he] knew she wasn't going to play her as a nice, simple person.
Jane has a real interior world, she has her heart broken. Donald Sutherland reminded Wright of his own father and was cast as the Bennet patriarch;  Wright thought the actor possessed the "strength to handle those six women". But Brenda has the humour and the heart to show the amount of love and care Mrs Bennet has for her daughters. Please come and be a bitch for me. She and Wright approached his film "as a difficult thing to tackle" because of their desire to distinguish it from the television adaptation.
Due to Wright's dislike of the high waistline, Durran focused on later eighteenth century fashions that often included a corseted , natural waistline rather than an empire silhouette which became popular after the s. Durran's costumes also helped emphasise social rank among the different characters;  Caroline Bingley for instance is introduced in an empire silhouetted dress, clothing that would have then been at the height of fashion.
To help differentiate the Bennet sisters, Durran viewed Elizabeth as the "tomboy", clothing her in earthy colours because of her love of the countryside. One of the main things Joe wanted was for the whole thing to have a provincial feel. Mary is the bluestocking: serious and practical.
And then Lydia and Kitty are a bit Tweedledum and Tweedledee in a kind of teenage way. I tried to make it so that they'd be sort of mirror images. If one's wearing a green dress, the other will wear a green jacket; so you always have a visual asymmetry between the two. The first time we see him he's at Meriton [ sic ], where he has a very stiffly tailored jacket on and he's quite contained and rigid. He stays in that rigid form for the first part of the film.
By the time we get to the proposal that goes wrong in the rain, we move to a similar cut, but a much softer fabric. And then later he's got a completely different cut of coat, not interlined and he wears it undone. The nth degree is him walking through the mist in the morning, completely undressed by 18th-century standards. It's absolutely unlikely, but then Lizzie's in her nightie, so what can you say? Moggach believed the novel was very filmable, "despite it containing no description and being a very unvisual book". He thus used "Austen's prose [to give him] many visual references for the people in the story", including using close-up shots of various characters.
For instance, in the film, Darcy first proposes outdoors in a rainstorm at a building with neoclassical architecture ; in the book, this scene takes place inside a parsonage. In the film, his second proposal occurs on the misty moors as dawn breaks;   in the book, he and Elizabeth are walking down a country lane in broad daylight.
During script development, the crew spent four to five months scouting locations,  creating a "constant going back and forth between script and location".
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Part of Joe [Wright]'s idea was to try to create a reality which allows the actors to relax and feel at one with their environment. Because "nothing exists in the United Kingdom that is untouched by the twenty-first century", many of the sites required substantial work to make them suitable for filming.
Double Negative also developed the typeface used for the film's title sequence. Production staff selected particularly grand-looking residences to better convey the wealth and power of certain characters. Chatsworth and Wilton House in Salisbury stood in for Pemberley. Italian composer Dario Marianelli wrote the film score, the first of his four collaborations with Wright. Their relationship began when Paul Webster, who had worked with Marianelli on the film The Warrior , introduced him to Wright. In their first conversation, Marianelli and Wright discussed the early piano sonatas of Ludwig van Beethoven , which "became a point of reference" and "starting point" for the original score.
According to music critic William Ruhlmann, Marianelli's score had a "strong Romantic flavour to accompany the familiar romantic plot". Multiple scenes feature actors playing pianos, forcing Marianelli to complete several of the pieces before filming began.
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According to him, "Those pieces already contained the seeds of what I developed later on into the score, when I abandoned historical correctness for a more intimate and emotional treatment of the story". The soundtrack ultimately contained seventeen instrumental tracks of music organised in a different way from the film. In contrast to the five-hour BBC adaptation,  Wright compressed his film into two hours and nine minutes of screen time. Moggach and Wright debated how to end the film, but knew they did not want to have a wedding scene "because we didn't want Elizabeth to come off as the girl who became a queen at this lavish wedding, or for it to be corny".
After watching a preview of the film before its wide release, former JASNA president Elsa Solender commented, "It has nothing at all of Jane Austen in it, is inconsistent with the first two-thirds of the film, insults the audience with its banality and ought to be cut before release".
Realism is a prominent aspect of the film, a theme confirmed by Wright in interviews as well as the DVD audio commentary. Such "irreverent realism" included the depiction of Longbourn as a working farm complete with chickens, cattle and pigs; as Dole explains, "The agricultural realities of s England are equally evident in the enclosed yard with barn and hay where Lizzie twirls barefoot over the mud on a rope swing". Raised with three sisters, Moggach was particularly interested in the story's family dynamics.
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Seeber believed that in contrast to the novel, the adaptation emphasises the familial over the romantic. Stewart-Beer and Austen scholar Sally B. Palmer noted alterations within the depiction of the Bennet family;  Stewart-Beer remarked that while their family home "might be chaotic, in this version it is, at heart, a happy home—much happier and much less dysfunctional, than Austen's original version of Longbourn For one, Mr and Mrs Bennet actually seem to like each other, even love each other, a characterisation which is a far cry from the source text.
Wright intended for the film to be "as subjective as possible" in being from Elizabeth's perspective; the audience first glimpses Darcy when she does. Knightley's Elizabeth has an "increasingly aloof and emotionally distant" relationship with her family.
Evidence of this can be seen with Elizabeth's gradual alienation from Jane as the film progresses; this is in contrast to the book, where Elizabeth confides more of her feelings to Jane after difficult events. They are a great burden to her As she keeps all this to herself, we feel for her more and more.