Pride & Prejudice: Behind the Scenes of the Beloved Adaptation

When Jane Austen first introduced Elizabeth Bennet and Mr. Darcy to the world, along with the social complexities that surrounded them, she likely couldn't have imagined the enduring cultural impact her story would have centuries later. Since then, "Pride and Prejudice" has been adapted for the screen countless times, including a forthcoming Netflix version. Yet, Joe Wright's 2005 film remains a standout, remembered for its evocative visuals and compelling performances.

The film boasts a stellar cast, including a young Keira Knightley, fresh from her success in "Bend It Like Beckham," and Matthew Macfadyen, portraying a Darcy far removed from his role as Tom Wambsgans in "Succession." The movie also showcases some of England's most stunning stately homes, adding another layer of richness to Austen's world. In anticipation of a special 20th-anniversary screening on April 20th, director Joe Wright shared his insights on bringing Austen's universe to life.

Creating a Distinct Vision The 2005 movie followed the popular 1995 adaptation starring Colin Firth. When asked about the pressure of creating his own version, Wright explained his decision to avoid watching the series altogether. He wanted to forge a distinct path, drawing inspiration from British realist directors of the 1970s and 80s, such as Alan Clark, as well as Robert Altman. Wright aimed to inject a sense of messiness and reality into the film, reflecting the conditions in which the Bennet family lived – without modern amenities. He collaborated closely with his production designer Sarah Greenwood, set decorator Katie Spencer, and costume designer Jacqueline Durran to authentically portray the era. The goal was to capture the constant bustle and chatter of a household with five daughters, presenting a more grounded portrayal.

Balancing Romance and Reality While striving for realism, Wright also acknowledged the romanticized nature of Jane Austen's work. He aimed to strike a balance between these two aspects through careful consideration of color, texture, and lighting. Working with director of photography Roman Osin, the production team took advantage of natural light, particularly during dusk, to create a visually stunning film.

"It's all about the light, really, how we used it," Wright said, emphasizing the importance of the choices made by Sarah, Katie, and Jacqueline in terms of color palettes. The cast also contributed significantly to the film's atmosphere, creating a sense of excitement and camaraderie on set.

A Summer of Laughter and Stately Homes Wright fondly recalled the summer of filming as a period of laughter and shared enthusiasm. Many of the actors, including Carey Mulligan, were making their film debuts. Brenda Blethyn, who played Mrs. Bennet, became a maternal figure to the cast, while Donald Sutherland, as Mr. Bennet, provided a paternal presence. The film's use of stately homes and the English countryside is integral to its appeal.

Wright shared that filming in locations like Derbyshire, Wiltshire, and Somerset led him to fall in love with the latter. In fact, a portion of the movie was filmed at Stourhead, a location now visible from his own home. "I'm a Londoner, and I could never imagine myself leaving London, but there is something wonderful about this part of the world… the magic of the light in that landscape," he explained.

Finding the Perfect Pemberley

The search for the Bennet family's house led to a beautiful, yet modest, home in Tunbridge Wells, reflecting their middle-class status. In contrast, Pemberley, Mr. Darcy's residence, was inspired by Chatsworth House, which Austen herself had visited. Wright felt it was a natural choice, representing the pinnacle of English estates. One memorable scene involved Elizabeth Bennet confronting Darcy's bust in Chatsworth's sculpture hall. At the time, the hall was adorned with Victorian-era red velvet, which Wright found unsuitable. After researching the house's history and discovering that the velvet was a later addition, he convinced the Duchess of Devonshire to remove it, restoring the hall to its original appearance.