Pride and Prejudice - The Special Edition (A&E Miniseries)

Pride and Prejudice - The Special Edition (A&E Miniseries)

Pride and Prejudice - The Special Edition (A&E Miniseries)
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DVD details

Actor: Anna Chancellor, Colin Firth, Crispin Bonham-Carter, David Bamber, Jennifer Ehle
Brand: A&E
DVD: Region Code 1
Audio: Spanish (Unknown); English (Original Language), Dolby Digital 2.0 Stereo
Format: Anamorphic, Closed-captioned, Color, Special Edition
Picture Format: 1.78:1
Running Time: 300 minutes
DVD Release Date: 2001-09-25
Audience Rating: NR (Not Rated)
Studio: A&E HOME VIDEO

DVD Reviews of Pride and Prejudice - The Special Edition (A&E Miniseries)

DVD Review: Rare, special team work, endless riches
Summary: 5 Stars

I originally finished this review on 17 September 2004 (pre blu-ray) but hesitated to post because of its length. I wrote as I did in enthusiasm for the production itself, in wishing to respond to some especially well-written reviews mentioned below & to some recurring themes that I found curious. Since then I have kept up with the hundreds of posts, delighting in the dialogue that never wants to quit! Now newly encouraged to post by Mr. Richter's review of 8 December 2009 I see he has written in excellent detail on several of my themes. I offer this as a complementary piece since I also expand on some of his. Also since 2004, I was struck by several reviewers who so well stated what I was struggling to say regarding the beauty of the leading women - that they seem chosen to embody what was considered most beautiful in the demeanor, painting, sculpture & cameo art of Austen's period, not necessarily our own time (see Pyles - 1/9/06 & Damamirlo - 11/8/08). Thanks to all of you for your contributions. Now - maybe better late than never - here is mine.
First, I have watched only the old VHS set which despite some awkward, cut-off views, graininess & inconvenience I like very much for its warm colours. I'll stick with it until there is something which recaptures those colours with better clarity & adds more gracious centering, richer sound.
I have not yet read any commentary by people involved in the production other than a bit by Colin Firth on playing Mr. Darcy.
I've watched this BBC/A&E Pride & Prejudice multiple times after happening upon an episode on Scottish TV & have become as obsessed as many. Quite a few reviews here have been enjoyable & helpful. I'm now eager to see the earlier film versions to compare. Whatever their merits I am puzzled by those who do not think the people playing the lead couples for BBC/A&E are beautiful enough or that the film follows both letter & spirit of Jane Austen. Of course beauty is always a matter of taste but in the case of Elizabeth it seems clear from the book that hers, as one person put it, is the sort that grows on one. When Darcy first begins to be attracted he debates with himself about certain imperfections in her form. Even her "fine eyes" must have a controversial element that Miss Bingley may disparage them (in book & film) with more reason than simple jealousy. As I got to know Ms. Ehle many of the glances of those eyes & her general wealth of expression brought me to tears. Jane is radiant in her blond gentleness, also well showing her inner strength. Bingley only appears vapidly handsome at times because he is a happy, uncomplicated person surrounded by much more conflicted souls who necessarily interest us more.
Those who wish the writer hadn't left out Austen's scenes of Elizabeth with her mother & Darcy after her engagement have a good point. I miss them too the more I think about it but as time was probably the issue I don't know what I would want left out. This whole feeling of wanting is not inconsistent with Austen. She almost always writes such lively detail into her characters & plots only to leave us suddenly hanging as she hurries through their marriages. We are happy for our new friends & at once agonized to say good-bye.
Thank you to the women from Inverness, Scotland (3/19/01) & Holland, MI (7/2/01). You wrote so eloquently especially about your favourite Colin Firth scenes that I was inspired to write. Austen writes so much from Elizabeth's perspective that for the sake of film we need these (sometimes "extraneous", imagined) Darcy scenes for balance, to help us understand his attraction & development. That they work so naturally with Austen's plot & provide some of the most memorable scenes is a tribute to the writer & director's imaginations & Firth's prodigious talents.
The "look" scene over the Pemberley fortepiano doesn't exist in Austen. You may remember that there is a morning call among the women during which they try for polite conversation (led by Georgiana's companion & Mrs. Gardiner) & eat a lot of gorgeous fruit. The men are out fishing & only Darcy comes in later causing more embarrassment for Elizabeth since everyone is suspicious. Austen only describes this scene other than Miss Bingley's taunt (that doesn't mention Wickham's name). She picks up the dialogue later with Miss Bingley's jabs at Darcy - leading to his annoyed but triumphant, ringing defense of Elizabeth's appearance. Including the early part of this scene would have meant making up a lot of new dialogue - something I think they tried to avoid.
The solution? It seems to be a kind of soiree with everyone present where music is the principal language followed by the expressions of those listening. This grows organically from Darcy's delight at Elizabeth's playing at Rosings ("No one admitted to the privilege of hearing you could find anything wanting..."). He hears the inner spirit of herself & the music expressed in her performance, whatever her technical deficiencies, & naturally is longing to find a way to hear her again. Even though WE only hear the end the choice is inspired. (Check out a translation of Cherubino's Act II aria from Mozart's "Marriage of Figaro" if you are unfamiliar with it.) His eyes melt in the warmth of his delight - not only in love of Elizabeth, of the music, of his sister, but in seeing them together absorbed by common interest. Notice in the inn scene his manner of anxious eagerness that they "hit it off". Notice how some added scenes show us how he cares for his sister, how Elizabeth's unaffected love for Jane draws him to her. He loves Elizabeth for herself but also knows she is the best companion (with all the silly, vain women around them) to make Georgiana forget her shyness, her past injuries, & to coax her into the truly happy, accomplished woman he longs for her to be.
I am nearly as moved by the little scene going to or from the nightly dog walk. The relief of seeing the two women together gives spring to his step. He fairly dances into the darkened room to relive his delight while the vision is still fresh - exactly what a lover would do. Both these scenes are more poignant because his relief is not that of fulfillment but only of new hope born of the new warmth & understanding in Elizabeth's gaze. He is too humbled to be sure of her now when in fact she does not yet understand her own feelings.
So what of the fencing & swimming scenes? I don't claim to know whether it would be "natural" for a man of his rank (or any) to attend a public class or to jump in a murky frog pond (clearly not the lake or river as some have written) at that time. Maybe these imaginings ARE too modern. Of course they show him wrestling with his emotions & the famous leap forms the culmination of a little thread of Darcy shown cooling his heated passions. But also one might notice that he is submitting himself to the scrutiny of his peers - & possibly "inferiors" - when he would have had every right to a private fencing master. The original plan was to film the swimming scene in the nude (see Firth's 2001 "Fresh Air" interview on US public radio) which Firth felt would have been more natural in a place where he expected no scrutiny at all. I'm not sure. The man has just ridden perhaps thirty miles or more on a hot August day. He sits down, considers a bit, pulls off the more encumbering items & impatiently jumps in, perhaps looking forward to walking back with the breeze on his wet clothes.
I think all these scenes help show us Darcy as a shy, natural, honest, free-spirited man behind all his aristocratic upbringing. We can understand better here than from the book why Elizabeth appeals to him so much as a kindred spirit. Thanks to the intelligence of Davies, Langton & Firth these new thoughts add richly to my love of Austen's work. Just more persuasion for a few nay-sayers that the whole team did something very special.

Finally, a bit more about music. I'm delighted with the period detail. Notice the musician playing bass on the wood & leather serpent at the Netherfield ball, the best European masters sought earnestly by Mary & Georgiana, the empty brilliance of Mrs. Hurst's Mozart, the easy familiarity with country dances. Even giddy Lydia not only cherishes her steps but the names of her favourite tunes - for all that "every savage can dance", you know. Carl Davis' score fascinates me. I'm sure there are allusions I'm not getting since I do hear a few. Are there little anachronistic hints of Wagner when Darcy is shown with a particularly gloomy Byronic or even early Wagnerian air? At his most agitated he reminds me more of Goethe's Werther. Is it just an inside joke since Wagner was born the same year as the book appeared? If so, it makes me smile at rather the wrong places. But as the Darcy/Elizabeth struggle intensifies does anyone else hear echoes of Schubert's C major quintet? All I need is this reminder of the great, throbbing, longing Adagio to bring tears. The restless major-minor shifting is so perfect for them even though it's later than 1813 also. Endless riches of association.

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Description of Pride and Prejudice - The Special Edition (A&E Miniseries)

Jane austens classic novel about the prejudice that occurred between the 19th century classes and the pride which would keep lovers apart. Studio: A&e Home Video Release Date: 11/25/2003 Starring: Colin Firth David Bamber Run time: 300 minutes Rating: Nr Director: Simon Langton
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