In reading Jane Austen, one can easily imagine the Austen children acting out a play created by the boisterous Jane. Her novels have all the elements of drama: a small cast, limited settings, and no special effects. In this manner, Austen writes cinematic novels – those easily adapted to the screen. We find in Austen’s works very precise stage directions (“Darcy shook his head in silent acquiescence.”) and characters who disclose their inner lives through dramatic interactions with others. Translation: Austen writes telling dialogue.
Today, we discuss Andrew Davie’s 1995 adaptation of Pride and Prejudice and, specifically, Colin Firth’s portrayal of Fitzwilliam Darcy. I do not wish to debate who was “the best Darcy.” What I wish to discuss is how Davie created the image of Darcy. Firth once said, “What Darcy doesn’t say” is as important as what he does say. As viewers, we observe Darcy looking disapprovingly at all the Meryton residents. He puts distance between himself and others. We watch Firth observe Jennifer Ehle’s character, and we have no doubt that as Darcy, Elizabeth Bennet’s disregard for him piques his interest. In reality, Firth has few lines in the first half of the series; yet, he “speaks” to us. He must convey Darcy’s thoughts and attitude with a raise of an eyebrow or a tightening of a jaw line.
Davie creates scenes and emotions (not expressed in the novel) to “flush out” Darcy’s character. In truth, Darcy is a major minor character. In the novel, he meets Elizabeth at Michaelmas (the end of September) and is at Netherfield until the ball (end of November). Darcy then does not see Elizabeth until Easter at Rosings Park. They are together a fortnight before the disastrous proposal separates them once more, leaving the suspense to build to the fateful meeting at Pemberley during the first week of August. In other words, he has been in her company three months spread over a year before his second proposal. Yet, Davie was smart enough to know that the dominant female audience would want to see Darcy fall in love with Elizabeth Bennet.
In the first half (up to the first proposal), Firth is invariably shown leaning against a mantle (usually with a mirror above) or staring out a window. Both stances are done in profile, indicating that he is shutting himself off from new experiences and new people – it is his distancing technique. Even at the Meryton assembly, Firth is shot in profile when he meets the Bennet sisters for the first time. Also, at the party at Lucas Lodge, Darcy remains in profile by a mirror. (Notice that he is seen reflected in an opposite mirror. I love those types of shots for they tell the story so well!) At Netherfield, Darcy remains in profile at the window as the Bingley sisters discuss Elizabeth.
We do not see Firth in full face until the scene about an “accomplished lady.” He stares at an unseen object/person, which we viewers assume is Elizabeth. This is a pivotal point in our definition of Darcy. He is watching Elizabeth, but we are watching him watch her. Immediately following this telling scene, Davie adds an unscripted Austen scene: Darcy is in his bath. When he steps to the window to observe Elizabeth with the dog, again we watch him observe her. Did you not develop an opinion of Darcy’s growing affections for Elizabeth without Davie telling you so in words? A simple visual effect told the story. From the bath scene onward, Darcy spends a great deal of time observing Elizabeth. This provides the viewer with characterization, but it was also a manipulative film technique to hook the obvious female audience. It was a glamorized framing of Firth as Darcy – offering him up to the feminine belief in true love. Even when Darcy returns to profile while he watches Elizabeth and Jane leave Netherfield, we know he observes her with growing interest. We automatically interpret his gaze.
From Elizabeth’s departure from Netherfield and up to the first proposal, Darcy retreats to the profile, indicating he is fighting his attraction for Elizabeth. At the Netherfield ball, we first discover Darcy in profile before he turns to look upon Elizabeth. At the Hunsford parsonage, he sits in profile when he visits with her and the Collinses, along with Col. Fitzwilliam. In the first proposal, he is back standing before a mirror; he moves in profile after the rejection and then returns to the mirror. All of this staring out windows and standing before mirrors is the filmmaker’s way of telling the viewers that Darcy’s character has never looked at his true self nor at Elizabeth as a true choice for a partner.
Davie displays Darcy’s sexual attractiveness, revealing the character as a sensitive man, as well as a physically fit one. Sensitivity is shown when he embraces a distraught Georgiana after her aborted elopement and with his distress when he discovers at Lambton Elizabeth’s grief over Lydia’s actions. Physically, this Darcy rides, hunts, fences, fishes, and swims. Although Darcy disappears from the novel for some time after the first proposal, Davie keeps the sexual tension by showing us Darcy fencing to fight his growing need for Elizabeth and then cooling his desires in the lake. Note that the fencing scene comes right before we first see Pemberley. It tell us who Darcy is, not what he owns.
When Darcy writes Elizabeth the letter of explanation (the beginning of the second half of this series), his anger and mortification is conveyed to the viewers through a man in shirt sleeves, with disheveled hair, and a grim countenance. He labors over the writing. This second half of the series creates a “new” Darcy. Even the opening shot (his leaving the parsonage) shifts the focus from Elizabeth to Darcy. Davie’s adaptation follows Austen’s book faithfully in most respects, except with Darcy. Those visual images to which we are introduced emphasize Darcy’s emotional rollercoaster. We are teased with an image of Wickham’s debauchery followed by the section of the letter where we shift scenes from Darcy’s writing to Elizabeth’s reading, creating sexual attraction.
Davie created an image of a determined Darcy, seeking Wickham and Lydia in London. Darcy is kept in our mind’s eye with images of this calculated search. Darcy buys information on the street from a penniless waif. He nearly forces his way into Mrs. Younge’s home. Later, we see Darcy standing up with Wickham at the church. Davie keeps Darcy’s character in the viewers’ minds even without Austen telling us these things. Note how Davie alternates between Elizabeth’s staring at Darcy’s portrait and Darcy’s dip in the lake. This alternation builds tension for their meeting.
When Darcy returns to Longbourn, he reverts to that stiff, proud character. Again, he is seen in profile before he stares out the window. However, it is not just Darcy who reverts. Think how Elizabeth is once again embarrassed by her mother during Bingley’s proposal, during Lady Catherine’s visit, and with their first walk out together. Returning the characters to an earlier behavior builds suspense.
At the Netherfield ball (one of 15 different dances in this adaptation), there is a sense of challenge between Darcy and Elizabeth. Firth actually said of the scene, “We see an honesty and a playfulness in Elizabeth, while there’s something slightly comical about Darcy’s trying to maintain his formal manner while holding up his end of the repartee. She’ll say something that stings him, and he has an entire eight-step circle to do before he is permitted to respond.” (pg. 102 of The Making of Pride and Prejudice by Sue Birtwistle and Susie Conklin)
So, what did you think? Did you learn something new today? Are there similar secrets you might share with the rest of us? I could go on and on, and we will discuss other facets of this adaptation later because it is one of the most successful ones. One thing you will find about me is that I love movie trivia!!!
Regina Jeffers
Regina Jeffers writes Austen-inspired sequels and mysteries, as well as Regency and contemporary romance.
In reading Jane Austen, one can easily imagine the Austen children acting out a play created by the boisterous Jane. Her novels have all the elements of drama: a small cast, limited settings, and no special effects. In this manner, Austen writes cinematic novels – those easily adapted to the screen. We find in Austen’s works very precise stage directions (“Darcy shook his head in silent acquiescence.”) and characters who disclose their inner lives through dramatic interactions with others. Translation: Austen writes telling dialogue.
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Fascinating post! Actually, there isn't all that much of Darcy in the book, so Davie had his work cut out for him in humanizing Mr. Darcy. You explained beautifully how he was able to do this. Looking forward to more because I too love movie trivia. I enjoy the backstory almost as much as the film.
this is so interesting! i love it. I have never really thought of or noticed such things before in the film that were minor details in the background.What amazing things can be discovered when one really looks
I love the whole Darcy in profile to show he is shutting out the world but later on when he sees Elizabeth he stops his shutting out the world and opens up for her!! such a good man <3
Great job, Davie! and wonderful post Regina Jeffers!
Obviously, one can tell that I taught media literacy for many years and have served as a media literacy consultant and on national committees.
Mary, it always amazes me how easily we can interpret a story visually with just a glance or a small gesture.
Joanne, I will be discussing the different movies on a monthly basis. Hopefully, you will find them interesting, as well. Please feel free to add ideas to the mix.
Regina, I too thought so much about Darcy's presence and "absence" in Pride and Prejudice. While writing Pemberley Manor, I took the time to create a document of all of Darcy's actual words to reinforce to myself how little Jane actually told us about him. I suppose that's why so many of us have felt compelled to elaborate on his character. Bravo for your analysis.
Fascinating post, Regina. I hadn't registered the frequency of the profile technique – just its effects. I also remember that Colin Firth fiddles with his shirt cuff in a couple of telling moments?
Darcy has one of the great human motivators in spades – power through wealth – yet here we see all his vulnerability when he's faced with something beyond his influence – desire for a woman who he initially believes to be totally unsuitable and who appears to think so little of him.
Apparently Davies' instructions to Colin Firth when he meets Lizzy arriving at Netherfield after her walk were to imagine he was feeling a rush of sexual desire – at least, words to that effect!
I usually love Davies' adaptations of Austen and Dickens – and now I understand why his films work their magic. Thank you!
Excellent review!
Generally, I find myself cringing while watching a film adaptation of a beloved novel. Too often it's easy to get carried away in the details that vary from what the author has penned, but I remember that the author did not pen every moment, every word spoken nor each and every expression either. (Isn't that what JAFF is for?)
To that end, I've always been pretty comfortable 'defending' the '95 adaptation. Darcy had to have bathed, yes? We can assume he had ways to spend his time in Town aside from stalking windows, so why not fence? These cinematic liberties, along with mannerisms like playing with his ring (and his cuff as Juliet mentioned) work wonders to humanize the man.
It is very true that we know very little about Darcy. Even the characterization from his 'great friend' Bingley paints Darcy in less than the best light when he says, "I declare I do not know a more awful object than Darcy, on particular occasions, and in particular places; at his own house especially, and of a Sunday evening, when he has nothing to do." [P&P,Ch10] Readers receive so very little insight about Darcy's character until 'The Letter'.
The first copy of P&P I owned had a few of Hugh Thomson's wonderful illustrations, including 'In vain I have struggled'. The way that Davies presented the Hunsford scene in his adaptation was exactly how I had always pictured it in my mind using the 'prompt' given by that simple drawing from 1894. Upon seeing that scene come to life so vividly, this adaptation forever became cemented (pond scene, wonderful as it is aside) as my favorite.
Thanks for re-visiting this!
Incidentally, the full text of Thomson's Illustrated P&P is online at the Internet Archive. This is the address for the print I mentioned: http://www.archive.org/stream/prideprejudice00aust#page/234/mode/2up
Kathryn, in my own story introduction, I described Darcy as a very major minor character. His actions or lack thereof dominate the story even though he is absent through much of it.
Juliet, I had forgotten about the shirt cuffs until you mentioned it. One of my students tracked the number of times Firth touches his cuffs in the film once. Maybe I can still find that piece in one of my files. Is it not odd how something captures our eye, and we cannot let it go.
Jennifer, thank you for the web link. I will check it out a bit later today. When I taught school, my students would always remark on how well Austen hides Darcy's true character until Elizabeth's refusal and the letter. That is a sign of a true artist.
Thanks for the wonderful post! Now I have another!!! excuse to go back and watch it and look for these things (although in my mind's eye, I can see them already!).
Every time I watch, I find something new! I found myself nodding my head all the way through your post! I am excited to sit down and watch again with a new consciousness of the characters.
Kara, I broke down and watched the beginning half where Darcy has few lines before I posted. It had been awhile since I had looked at it. It was refreshing to note there was still so many things I did not see the first 50 or so times I have watched this adaptation.
Becky C., I understand. It is addictive in its own right. When you study film, the least item is significant. It can be a poster on the wall in the background. It can be ad placement (opening an Apple computer, eating an Oreo cookie, etc.), which people do not realize is being implanted on the visual memory part of the brain. Even when I taught middle school, my students learned to read visual images. Sometimes, they would say things like, "I can't watch TV any more without seeing a bunch of promos hidden throughout." I always laughed and was a bit pleased with myself for opening up new ways of learning. Smirking my way home was not unusual.
Regina,
I have viewed all of the P&P film adaptations except 1 (1952 w/Peter Cushing) and by far, my favorite is the 1995 version.
With the introduction of dvd's and blu-ray's, we get more and more background on the filming, casting and production and I have watched those specials many, many times as well and after reading your analysis, I now know why it is my favorite. You point out exactly why it so captures my imagination. The presentation!
Darcy and Elizabeth will always be my favorite couple…with Aragon and Arwen being second and F'lar and Lessa a close third but D&E rule for me!
Thank you so much,
Sandy
Great post, I feel as if I am right back in Film as Lit
I've always felt the 1995 adaptation did a great job of giving us Darcy's inward struggle and change.
Thank you Regina. Not being a film buff myself I totally missed all of this. What an interesting post. I've only watched the 95 P&P from beginning to end maybe 2 times though and it was a while ago so the nuances escape me. I hadn't noticed the cuff fiddling either. I do remember watching several interviews with Davies (I think there is an s at the end?) though where he described what he did to sex up the Darcy character and found it very interesting.
Great post! I hadnt realized how much of Darcy's scenes were in profile but it makes so much sense. I'm not very good at picking up on those types of things when I'm watching a film (which is why, I suppose, I'm not a movie director) but when I watch the "making-of" special features afterward, I'm always amazed at how much thought goes into every small detail.
I love the bath scene, not just for the OBVIOUS reason but for the way Darcy observes Lizzy outside playing with the dog. I didnt realize until I started reading P&P fanfic and coming to this site how very little time D&E spent in each others company over the course of the novel- he really had it BAD to pine for her that long after just those few interactions! Truly bewitched I guess. LOL Thanks for giving me yet another reason to sit down and watch the movie!
So much of human communication is body language and movies (and plays) are perfect at conveying the unspoken. I'm going to have to read this posting through several times to get all the meat. Thanks, Regina.
Interesting post! I also adore this movie!
Sandy, are you not the lucky one? I will need to pick your brain for how you had access to so many adaptations.
Jessica, it was easier to create character in a nearly six hours' format. Yet, the way this adaptation is designed for the female viewer is genius. You are with Darcy – inside his brain.
Lisa S., it takes awhile to learn to watch for certain camera angles, etc., to tell a story. Sometimes I am very attuned to such visual manipulations, and sometimes I am more concerned with the tub of popcorn before me. LOL!
What is fabulous about this adaptation is how Darcy is seen as a main character when he has so few lines in the first half of the film. Yet, we all thought we knew him well from what "he said."
Susan, it sounds as if you too have some theatre or film training.
Chelsea, I started with this one because it is a fan favorite.
I was fascinated by all the info you gave us. I have watched this movie numerous times but did not realize the profile thing. Now, I have another excuse to watch it again.
thanks,
Terie
The reason I think Colin Firth is the ultimate Mr. Darcy is because of his tremendous ability to communicate his thoughts and emotions with very subtle facial expressions (which also made him perfect for "A Single Man"). One of my favorite moments is when he is talking to Elizabeth at the piano at Rosings and Lady Catherine demands to know what they are talking about. CF does this little blink of his eyes- a fraction of an eyeroll and that little flick expresses all of his irritation and embarrassment with Lady Catherine's overbearing behavior without saying a word. I really enjoyed the book "The Making of Pride and Prejudice" as it discussed how they selected the cast, how the costumers chose the fabrics and accessories for each character, etc. It was very interesting.
Thank you, so very much, for sharing your insights with us, Regina. Today's post was truly interesting.
I've watched this version umpteen times and paid particular notice to every delicious scene in which Darcy looked at Elizabeth.
I'm obviously not a true proficient at analyzing dramatization, as I have to admit I did not realize the 'profile' vs 'full face' angle until you pointed it out. So, yes, I definitely learned something new today.
Were there any continuity errors in the production? I can never catch any of those.
Well, since I'm feeling a bit under the weather this evening, I'm going to fetch my pillow and blankie and look for the nuances you brought to our attention. Thanks, Regina, for another excuse to watch this adaptation.
Joanne
Hi Regina!
I remember the interview you speak of when Andrew Davie extols the joy of creating his adaptation. He was certainly very passionate about showing us more of Darcy as a man. And I think he did a fantastic job!
I agree with your comments about the various shots,it was an excellent production.
"Watching him watch her" I love this about this adaptation. You can really feel the passion and attraction growing. I love the scene where Darcy spies on Lizzy from his bathroom window! How provocative!
Yes and I love the writing letter scene. One can really feel his anguish at exposing himself and his family in such a manner. And also the anguish that Lizzy could side with such a man over him!
Thank you for this wonderful post Regina. I have definitely learnt something new even though I have watched this series a 100 times!
TSBO devotee
Vee
Terie, is it not nice to have a legitimate excuse to watch Pride and Prejudice again? I used that excuse in writing this blog.
C.Allyn, the first time I watched this in '95 with all the other crazies who were clamoring for more of Mr. Darcy, I saw none of this. I just sat with my mouth open trying to absorb the atmosphere. I had been away from Austen for several years to raise my child and my stepchildren, and this was my first immersion into Austen for almost a decade.
Joanne, I do not know whether you would call them continuity problems, but Firth mentioned once in an interview that it was harder to recapture the proudful Darcy. They did not film the adaptation in order of presentation. We know that scenes with minor characters are shot first to reduce production costs – not having people on the payroll. He might have to shoot some scenes as the besotted Darcy with another actor and then shoot another as the proud Darcy with the same character. Keeping his frame of mind straight must have been difficult because Darcy goes through such a transformation.
Vee, the "watching him watch her" is done very well in this adaptation. I, especially, loved how both Darcy and Elizabeth revert to their former selves in the scenes where he returns to Netherfield to bring Bingley back to Jane. They both want to say something and recapture what they had at Pemberley, but they cannot. Their body language says it all.
I must watch P&P with a more critical eye.
Enjoyed your post. When I watched the P&P '95 version and Elizabeth is looking at Darcy's Portrait like she seeing him for the first time and taking in everything Mrs. Reynolds said of Darcy's character. I wondered how she reconciled how he spoke to her at Hunsford with what she learned of his character by his letter and Mrs. Reynolds. I suppose it was expected thinking between the class differences.
What a great essay on the film. I guess I never noticed… or it never occurred to me that the profile shots and scenes of Firth looking out windows or into mirrors had some sort of symbolism to them. Interesting explanation. THanks for sharing your insights! Amy Z
SuzeJA, in the portrait gallery scene, Elizabeth becomes quite aware that the disdainful look she once thought Darcy gave her is really an expression of his deep regard. She probably wishes that he might look upon her with those eyes again, and maybe this time she might not be so foolish.
Amy Z., everyone interprets the film differently, but I notice camera angles to establish dominance, etc., all the time. Yet, there was a time I simply watched the film. I take pleasure from both experiences.
I totally enjoyed this post as well. I never would have put it together like that. Tho' the intensity of facial expression is very obvious and a reason we all enjoy this movie. A picture truly is worth a thousand words.
Thank you for this incredibly detailed dissertation, Regina. I am in awe of what you noted! I think we all know that Matthew is my favorite Darcy, but there is no doubt whatsoever that Colin played the character brilliantly. Davies is a fabulous director and always knows how to manipulate scenes and actors to the best advantage. I suppose it is time I watched the miniseries again with a more critical eye!
Thanks so much for these discussions. I am anxious for your talent to be applied to the 2005 version!
Regina, I really enjoyed reading your post about how Darcy was presented in the 1995 adapation. I've seen the film many times and also read Davie's interviews but the way you wrote about it gave me many new insights to ponder. I'll definitely be watching the film again soon.
I've always believed that what Darcy doesn't say is just as important, if not more important, than what he does say. I think I wrote this in an Amazon book review although I can't remember which book it was (maybe Kara Louise's "Darcy's Voyage"). That may be part of the reason that books telling the story from Darcy's point of view have been so fascinating since they give insights into the inner workings of his mind. Too many authors make Darcy babble on about feelings and I can't believe he would have done that. I believe that what goes on in his head comes out mostly in his body language and not his words.
I've been working on a P&P variation of my own and in many ways, Darcy was the most difficult character for me to write until I realized that if my husband (who is somewhat like Darcy in his communication style) wouldn't say it then Darcy definitely wouldn't either.
This is why I like the 1995 adaptation — Davie may have added scenes for Darcy but I think they're all consistent with the Darcy that Austen created.