I could probably continue on an entire extra year reviewing various adaptations and interpretations of Jane Austen’s works. There are plays, spin-off books, modern adaptations, the list goes on and on. Every year it seems there is a new version coming out in some form or another and this last year was no exception. Not only did we get a new feature film of “Emma” but the BBC also released an 8-part mini series of Austen’s unfinished work “Sanditon.” So I wanted to briefly touch on my thoughts of both those and to add in one other adaptation that has been a favorite of mine for quite a while, “Death Comes to Pemberley,” both the book and the 3-part mini series.
I promise I’ll leave a positive review for one of these “extra” Jane Austen reviews that I’m doing in January. Alas, like “Emma” , this is not one of them. Unlike “Emma,” however, I am more in-line with the general reception of this mini series. All and all, I think most Jane Austen fans were supremely disappointed by it, not least because of how it ends. Let’s dive into my complaints, shall we?
(NOTE: There will be spoilers in this review.)
The whole thing starts from a false premise: that there’s even a story here to adapt. Austen had only written eleven chapters of this story before her death. For reference, Emma has fifty-five chapters, so by comparison, eleven chapters is only scratching the surface of whatever story Austen had in mind. All we really get from these opening chapters is the introduction of our heroine, Charlotte, her relocation to an up-and-coming beach town called “Sanditon,” and the arrival of a potential love interest in the form of the fashionable Sidney Parker. Story-wise, it’s not much. There are the typical cast of side characters as well, but not much as far as clues to Austen’s overarching plot or themes. In most ways, she’s just finished setting the scene and not much else. It was always going to be a fool’s errand to try to expand that out into a mini series and to call it a “Jane Austen adaptation” is really pushing the limits of that term.
Perhaps in the right hands a compelling story could have been made. But sadly, this mini series ain’t that. It falls into too many traps that many modern adaptations risk and, at its heart, seems to miss the overall tone and heart that makes up all Jane Austen stories. To most fans’ chagrin, the story succumbs to the inane need of modern series to be “gritty” and “push the limits.” There are overtly sexual scenes in the very first episode (some of them even bizarrely going a very “Game of Thrones” route, none the less…). And many, if not most, of the characters introduced are supremely unlikable. For some reason, it seems that many directors and screenwriters often confuse writing a character with layers and depth with just writing supreme jerks, and we see plenty examples of it here. The romantic interest is immediately an a-hole to Charlotte, and not in the endearing, prideful “Darcy-esque” way that is the only acceptable form of this behavior in an Austen story.
Gone is the joy. Gone is the wit. And, worst of all, gone is the happy ending. It seems as if the director intentionally ended the series this way in a fit of over-confidence that the series would be picked up for a second season. Indeed, this is the only acceptable reason for ending an Austen story this way. There are plenty of historical fiction stories to be told where the happy, romantic conclusion is not a given. But those are not the stories that Austen wrote. She even said it herself, “let other pens dwell on guilt and misery.”
Every Austen fan who went into this series happily hoping to get one last shot at a new Austen story would have had this one, simple expectation: that the hero and heroine would end up together and happy at the end. Whatever happened from the start to the finish was open for exploration and interpretation. But this ending was a must. Instead, the series not only denies our hero and heroine this happiness, but it essentially resets the story by sending Charlotte back home where her future is once again limited and likely dull. I’ll be blunt: this ending is inexcusable for a Jane Austen adaption and, apart from any other stumbling blocks (of which there were many) would be enough to write this entire thing off on its own.
Unlike “Emma,” which I think I disliked for fairly subjective reasons but is sure to please many fans, this mini series really has nothing to recommend it, as far as I’m concerned. Perhaps for general historical fiction fans it would be an ok watch. But any fan of Jane Austen should simply steer clear, as “Jane Austen” this is not.