My Year with Jane Austen: “Mansfield Park” [1999]

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Movie: “Mansfield Park”

Release Year: 1999

Actors: Fanny – Frances O’Connor

Edmund – Jonny Lee Miller

Mary Crawford – Embeth Davidtz

Henry Crawford – Alessandro Nivola

Comparison – “Indulge your imagination in every possible flight.”

This is probably the most interesting Jane Austen adaptation we’ve seen so far in this review series. For the most part (other than the modern re-imaginings, of course), the other movies have stuck pretty closely to their book counterparts. There are small changes here and there, extra lines added/removed, and various actors bringing their own flare to the characters, to varying levels of success. But while this movie does keep the main plot points included, it also makes some significant character changes and also heavily focuses on themes only briefly touched upon in the book, most notably, the role of the slave trade on British life during this time period.

I’ll dive more deeply into the character changes later, but both Fanny and Sir Thomas have some striking dissimilarities to their book versions. But the other big change is the focus on slavery and the growing abolitionist movement at the time. Right in the beginning of the movie as Fanny travels to Mansfield, she sees a slave ship docked on the coastline and is struck by it. Later, as an adult, she and Edmund discuss the abolitionist movement, with Edmund noting that while progress in that area is a moral good, their livelihoods are currently funded by the wealth provided by the Bertram family’s plantations in Antigua. For his part, Sir Thomas espouses some very racist and incorrect points of view at a family gathering, starting off a minor family scuffle when Edmund and Fanny attempt to correct him. And, of course, we later see the horrific actions that Sir Thomas has taken against his slaves depicted in Tom’s artwork. I’ll get more into Sir Thomas and these violent acts later, but I have a similar problem with that depiction as I do with some of this theme.

Mainly, the movie seems to be wanting to have it both ways: it wants to bring up this topic as one that would be relevant to the times and add a more meaningful weight to Edmund and Fanny’s discussion (the book largely focuses on nature and religion here), but the movie also doesn’t want to change anything significant about the story in this light. Meaning, there’s all of this discussion about the slave trade, but no characters actually make any meaningful steps or really change anything about their lives in response to this. This is likely realistic, it’s not like many nobles of the time were probably giving up their fortune in the work of moving towards freedom from the African people enslaved. But it also makes the movie end on a very awkward, unresolved note. It’s rather uncomfortable. Perhaps that was the point? But if so, even that fails to really settle with any weight.

Heroines – “I hate to hear you talk about all women as if they were fine ladies instead of rational creatures.”

I have mixed feelings on this portrayal of Fanny Price. On one hand, I really like Frances O’Connor’s acting overall and think she fits the mental image I had of Fanny pretty perfectly. On the other hand, I think the character is really all over the place throughout the movie, sometimes being presented as a strong-willed, verging on rebellious young woman, and at others reverting back to the more meek and mild version of the character that we’re familiar with from the book.

One of the big challenges of adapting this book is Fanny herself. She’s an even more quiet and reserved character than Eleanor who also has Marianne to balance her out. So, I get that adjustments had to be made here. Edmund’s “grooming” of Fanny definitely doesn’t work for modern audiences. Nor does the fact that most of Fanny’s longer speeches (that she makes out loud at least) have to do with the wonders of nature, poetry, and the clergy. As I’ve mentioned in my review of the books, there are even times when Fanny seems to be suffering from some mild form of Stockholm Syndrome, especially with how thankful she is for Mrs. Norris’s constant reminders of how very, very lucky Fanny is to be in a family where she is largely ignored and otherwise put to work as a glorified maid service for the ladies of the house.

So, all of that acknowledged, I generally am ok with the changes they’ve made to Fanny here, especially when they emphasize her more wild moments (running around with Edmund, horse back riding, being more firm when she stands up to Sir Thomas about refusing Mr. Crawford). There is a bit of whiplash when she switches back to being meek/mild all of a sudden, but I get it.

The only real problem I have with her portrayal is the decision the movie makes to have her briefly accept Henry Crawford. Again, on one hand, I get the point the movie is trying to make about the very real, very scary situation facing women of the time. We see Fanny witness the life her mother has had after marrying the wrong man, essentially. She married for love, but it is clear that that love is gone and all that remains is a life marred with poverty and too many children. This could easily be Fanny’s future, and I like that they acknowledge these hard choices, especially in a Jane Austen film that, naturally, usually tells the much more romantic, lovely version of young women finding love and wealth (or at least good comfort) together.

I also think that this change can add a good balance point between Edmund and Fanny, which I’ll talk more about later. But strictly looking at it as a character adaptation from what we’re given in the book, this is the biggest change to Fanny’s character we see and one that undermines one of the most prevalent aspects of her entire character. Through the book, Fanny is largely a silent observer. But through access to her inner thoughts and the more revealing conersations we see between her and Edmund, it becomes very clear that Fanny is the only character who is truly clear-eyed about the people and events going on around her. She also is the only one to hold true to the principles she expresses. Edmund talks a good game, but he ultimately joins in the play (after very little prompting really) and is willfully blind to Mary Crawford’s true character. Most of the rest don’t even come close to his levels. By the end of the book, Austen devotes a decent amount of time to Sir Thomas reflecting on the failures of parenting that lead to his children being raised to look the part of well-bred individuals but who ultimately lacked the firm foundation that is required beneath it all to be truly moral or proper.

Fanny, alone, stands true to her beliefs. Even in Portsmouth where we see her struggling to get by in her family’s household (her health actually suffers), Fanny’s focus shifts to what she can bring to this family and she devotes much of her time to improving Susan. When Crawford visits, she sees his improvements as nothing more than a hopeful sign that he will soon recognize the pain he causes her by continuing to pursue her. She knows she doesn’t love him. Knows that a future with a character such as he is (one who she has witnessed toying with women) is questionable at best. If anything, for the book character at least, seeing the situation her mother is in also reinforces the idea that marrying the wrong man can have dire consequences, making Henry Crawford’s fortune not necessarily the assurance of comfort that it originally seems, from a purely practical sense.

The story is almost built around this essential trait of Fanny’s, and one that is presented as unique and rare to her, so to give that up in the movie is strange to say the least. And, given that she changes her mind the very next day, adding weight to Crawford’s accusations of her own inconstancy and lack of trustworthiness, I’m not quite sure what it really adds to the movie. Does it really give us any greater insights into Fanny herself? Into the situation women faced? All of that could have still been accomplished without undermining the steadiness that Fanny is later praised for. Edmund even calls it her “infallible guide”…but the movie itself just worked against such strong language or terms. I think I just wish the movie had done more with this moment. If they were really going to play around with such a key part of Fanny’s character (perhaps the key part of her character), I feel like more needed to be done to justify the change, either leading up to her making this decision or in the fallout. As it is, it feels unnecessary and both undermines Fanny herself and lends some extra motivation for Henry Crawford’s rash actions later on (though not much, and I’ll touch on that in the Villains section).

Heroes – “What are men to rocks and mountains?”

Edmund is so much more likable in this movie than he is in the book. My love for Jonny Lee Miller has been well-established at this point, so of course, I credit his natural charisma as helping bring the character more forward as a hero. But we also simply see more heroic deeds from him. Or, at the very least, more romantic hero deeds from him. Unlike in the book, this version presents Edmund as half-aware of his interest in Fanny the entire time. The audience is never left to question whether Edmund has feelings for Fanny, it’s there from the beginning. It’s there when he mistakes his father’s praising of his choice in women, thinking of Mary Crawford, for Fanny herself. It’s there when, after Mary Crawford disheartens him about her views on the clergy, he demands the first two dances with Fanny instead of Mary. It’s there when we watch Edmund and Henry Crawford gaze after Fanny as she leaves the ball, clearly paralleling them both as interested parties. It’s there in strained words of missing her when he fetches her back home and then when we falls asleep on her shoulder. And it’s most especially there when he initiates their almost kiss in the middle of their middle-of-the-night encounter in Tom’s room (this, still, before Edmund had even heard Mary Crawford finally truly expose herself).

Miller’s version strikes a good balance between Edmund’s own moral sense while also making him believably young and naive enough to fall for a woman like Miss Crawford. His take on the character is very fresh-faced and wide-eyed. So while we see him giving good speeches on the quality of literature and concerns about the slave trade, it’s also easy enough to see him swayed over to being in a tawdry play and pursue Mary past the point of reason. In the end, it’s much easier to forgive him his nonsense for all the more good we’re given to continue liking him throughout this version.

Villains – “I do not want people to be very agreeable, as it saves me the trouble of liking them a great deal.” 

For a book that is already largely made up of villains, somehow the movie went and made more?? I’ll get into the Crawfords, of course, but one of the most major changes to this adaptation of the book is the striking character revision of Sir Thomas. In the book, he could be gruff at times, but was largely a benevolent character, often coming in second to Edmund as actually caring about Fanny’s needs. We see him arrange the ball for her largely out of genuine care for her and her brother. And even after she refuses Mr. Crawford and he speaks harshly to her, he follows this up directly with the action of making sure there is a fire in her room. From there, he does nothing but quietly discuss the situation with Edmund and resolve to let things play out as they will. The worst that can be said about him is that he becomes a bit neglectful when caught up in the family drama at the end, leaving Fanny to linger in Portsmouth.

Here, not the case. It’s actually a very uncomfortable change, overall. I’m not necessarily opposed to re-writing the character this way, but I’m not sure what purpose it ultimately served with how it’s done here. We don’t really need a reason to dislike this character as, like I’ve said, there are plenty of unlikable characters in this story. And even if they had left the character completely as is in this movie, harsher threats to Fanny and colder/creepier disposition overall, he would have been plenty unlikable. But then they add in the graphic nature of his treatment of the slaves at the plantation. The images Tom draws depict every sort of violence, up to and including sexual violence. And then…the movie never touches the topic again.

We’re left with a family who essentially goes on as is, with Fanny and Edmund interacting with everyone in the same manner as always, even going so far as to bring Fanny’s younger sister, Susan, into the household. In the book, this makes sense. With this type of character portrayal for Sir Thomas? There are some serious eyebrow raises about introducing a young woman into that situation, ones that you have to think the very moral and upright Fanny and Edmund (one has to assume she would tell him about this) would have serious concerns about. And then, beyond that, the movie fails completely to make any actual statement or rebuke of this character. It just…sits there. If you’re going to touch on this very real part of history, you have to actually do something with it. As it is, it’s almost worse than not acknowledging these harsh realities at all, since the movie introduces the topic but then does so little with it that it begins to feel exploitative and used for graphic thrills rather than adding any meaningful commentary. I have a big problem with it, ultimately.

For their part, the Crawford siblings are pretty similar to what we see in the book. I do like that we actually get to see the scene where Mary Crawford so thoroughly exposes herself as a terrible person. In the book, it’s kind of anticlimatic to just hear about it second hand through Edmund’s recounting to Fanny.

As for Henry Crawford, the casting here was perfect as I think he immediately sets of spidey-senses for most women as not a trustworthy guy. Too charming by half! His arc is influenced a bit, I think, by the changes they make to Fanny’s decision to briefly accept him only to promptly drop him again the very next day. Not that this disappointment in any ways justifies his or Maria’s actions. But it does paint the entire thing in a bit of a different light, since he’s clearly still reeling from this quick about-face. It also does add weight to his comment that Fanny is somehow the perfect example of trustworthiness. He’s right! She’s not, really, after this! It’s a very human thing she does, but he also has a point. In the book, there is really nothing pushing him towards Maria other than sheer boredom and ego. Here he does have a recently broken heart to somewhat explain his poor decision making. As far as his character arc goes, I’m fine with either option. I have more problems with what it does to Fanny’s character than his, really.

Romance – “A lady’s imagination is very rapid: it jumps from admiration to love, from love to matrimony in a moment.”

As I discussed in the “Heroes” section, the romance is greatly increased in this version of “Mansfield Park.” The entire movie gives us ample evidence that Fanny’s love is requited but that Edmund is just too much of a dunderhead to really put it all together. Really, there’s almost more on the screen highlighting Edmund’s love of Fanny than the other way around. We know it to be true since Fanny pretty much confesses as much, but he has many more actions and lingering looks to his side of things (probably a testament to the director/writers knowing who the main audience will likely be composed of…).

In some ways, Edmund and Fanny are more balanced together in this version as well. I know it’s been some fan’s complaints that it seems that Fanny is essentially Edmund’s reward at the end of the book for getting through the trials that were Mary Crawford. In my review of the book, I argued that it is the opposite: that Edmund is Fanny’s reward for staying true to her principles in the face of everything. Here, we see them both stumble. Edmund, of course, still pursues Mary Crawford (though the near kiss with Fanny does introduce a question into whether he’d have gone through with that relationship even if Mary hadn’t sabotaged herself). He still even has the line about not being able to picture anyone as his wife but for Mary (harder to buy that line in a movie like this that only shortly before had him confusing his father’s compliments on his choice of a potential bride for Fanny instead of Mary…tell me again how he couldn’t picture anyone else as a bride??) But here, we also see Fanny stumble, briefly giving into fear of a poor future to accept Henry Crawford, if only for one night. I talked more about that in the Heroines section, but I think the decision itself plays best when viewed through the romance angle, as one that makes equals, equally flawed at least, out of our main couple.

Comedy – “For what do we live, but to make sport for our neighbors, and laugh at them in our turn?”

The movie definitely adds in more comedy to the proceedings, making it, in some ways, feel more like a Jane Austen story that the original book did itself. There’s a great little montage right after the family party meets the Crawfords where we go through each individual primping and prepping themselves, all clearly besotted in one way or another with the two new comers. Some of Mrs. Norris’s nastiness is hedged a bit more for laughs, though she’s still generally just an awful person. And Fanny and Edmund’s interactions are often tinged with a lighter note as well than they were in the books. Wisely, the director and writers steered well-clear of giving too many impressions of Edmund’s “molding” Fanny as she grew, something that is often referenced in the book but that means something very different to modern audiences than it would have at the time.

Mr. Rushworth is definitely the primary humorous character. He’s great from start to finish. He doesn’t have a ton of screen time, but the actor really makes the most of even the brief appearances we do see. He bumbles about, seemingly only half aware of his surroundings at any given moment, clearly ignorant of his fiance’s contempt. His bragging about his number of speeches and costume changes to the baffled Sir Thomas (this, on their first meeting!) is pure gold. And, of course, we get to actually see the morning where Maria and Crawford are discovered to be missing. In some ways, seeing the reality of the situation settle on poor Mr. Rushworth does more to really highlight the wrongness of the situation than what we got in the book. Silly he may be, but here we get to actually see the human cost of two selfish individuals and their thoughtless actions.

And, of course, the movie kept in my favorite comedic moment from the book: when Lady Bertram is clearly sleeping through all of the action and startles awake only to quickly protest that she was not, in fact sleeping.

Fun facts – “Life seems but a quick succession of busy nothings.”

Not only does Jonny Lee Miller play two Jane Austen heroes (something that I believe he is unique to?), he also had already played a character in a “Mansfield Park” adaptation before being cast as Edmund here. He played one of Fanny’s younger brothers in the 1983 mini-series version of the story.

This Fanny Price is partially modeled after Jane Austen herself, with Fanny working as an aspiring author. Some of the bits of writing she reads in the movie come from Austen’s own early work as a teenager.

The actresses who play young Fanny and young Susan are sisters in real life.

Best Movie Gif/Meme: “I dearly love a laugh.”

Thought this one was pretty good:

In two weeks, I’ll the 2007 version of “Mansfield Park.”

My Year with Jane Austen: “Mansfield Park” Part II

45032Book: “Mansfield Park”

Publication Year: 1814

Book Description: Adopted into the household of her uncle, Sir Thomas Bertram, Fanny Price grows up a meek outsider among her cousins in the unaccustomed elegance of Mansfield Park. Soon after Sir Thomas absents himself on estate business in Antigua (the family’s investment in slavery and sugar is considered in the Introduction in a new, post-colonial light), Mary Crawford and her brother Henry arrive at Mansfield, bringing with them London glamour, and the seductive taste for flirtation and theatre that precipitates a crisis.

Part I – Chapters 25 – End

Story – “The person, be it gentleman or lady, who has not pleasure in a good novel, must be intolerably stupid.”

Henry Crawford continues his stay and attention to Fanny. Much to her dismay, he even proposes renting out the home destined for Edmund, with the idea that Edmund can stay on at Mansfield Park once he takes orders. Fanny is dismayed by this plan, both its implications towards Edmund as well as herself.

Eventually, the idea of hosting a ball during William’s stay takes hold and arrangements begin to be made. While Edmund debates the chances of a future with Miss Crawford (whose dislike of the clergy has been well, and rudely, established, Fanny’s mind is occupied by finding a necklace to wear with a small cross that William gifted her. On a visit to Miss Crawford, Miss Crawford presents Fanny with an array of her own chains to choose from. Fanny resists, but after much pressing, finally selects the chain that she feels Miss Crawford is most often putting forward and thus most likely to wish to part with. She then discovers that the chain had been a gift from Mr. Crawford and attempts to give back, to no avail. She suspects that Mr. Crawford himself had some hand in this affair. Later, Edmund presents Fanny with a simple chain that he had purchased for her for the same purpose. Fanny is gratified to find that Miss Crawford’s chain won’t fit the cross, but determines to wear both chains together in acknowledgement of each gift.

The day of the ball arrives, and Fanny is horrified to learn that she is meant to open the ball, and with Mr. Crawford nonetheless. For his part, Mr. Crawford continues to lavish attention on Fanny, Fanny continues to be put off by it, and Miss Crawford continues to push the attachment, confused by Fanny’s reluctance. Over the course of the evening, Sir Thomas, himself, becomes more and more convinced of Mr. Crawford’s sincere attentions to his niece.

William leaves the next day, Edmund goes away for a week as well, and Mr. Crawford, too, goes to London,leaving spirits much depressed. Miss Crawford realizes she misses Edmund and confides in Fanny about it. Mr. Crawford, for his part, confesses to Miss Crawford that he is going to propose to Fanny; she is shocked. Both siblings laugh at the shock this will bring to the two Bertram sisters. The next morning, Mr. Crawford arrives when Fanny receives the news that William has received a promotion and she learns that he had went to London to have his Uncle see to just this event. He then uses this opportunity to begin confessing his feelings to Fanny, much distressing her. She negates all of this and rushes away. She is made further uncomfortable by receiving a note from Miss Crawford insinuating much about Fanny’s soon-to-be relationship to herself. Fanny writes back a note saying she knows neither Miss Crawford or Mr. Crawford mean anything by it.

The next day, however, Sir Bertram finds Fanny in her room (he notices that she has no fire) and announces that Mr. Crawford had come to speak him that very morning, asking for Sir Thomas’s blessings on his plans to ask Fanny to marry him. Fanny is shocked and tells Sir Thomas there must be a mistake as she had clearly rebuffed Mr. Crawford just the other day on this very topic. Sir Bertram is shocked as well, asking several times for clarification that Fanny means to be refusing Mr. Crawford. Fanny is dismayed to find that in a man whom she had thought so just, that her simple answer of disliking Mr. Crawford is not enough of a reason for her to deny marrying him. Sir Thomas gives a harsh speech in which he calls Fanny obstinate, selfish, and ungrateful, making Fanny cry bitterly. Sir Thomas sends Mr. Crawford away and has Fanny take a walk to calm herself. When she returns to her room, there is a fire to warm the room.

When Fanny finally does have to speak to Mr. Crawford, she is dismayed to find that he is unrelenting, even in the face of her firm refusals. Fanny, at least, thinks they are firm, but her gentle nature tempers everything she says. What’s more, Mr. Crawford, really believing himself in love, cannot fathom the idea of not succeeding. For his part, when Sir Thomas speaks to Mr. Crawford later, he is encouraged by Mr Crawford’s steadiness of purpose and believes him in his idea that Fanny will come around. Sir Thomas decides to recuse himself from all further proceedings, and tells Fanny that they need no longer discuss it and he will no longer push the alliance on her. But her aunts must be told of what is going on.

Edmund returns home and is informed of all that has happened. He’s not as shocked as Sir Thomas, but takes his father’s view of it being generally a good thing that he is hopeful Fanny will realize for herself. But he knows enough of Fanny not to push the topic on her or embarrass her further about it. When witnessing the two together, however, Edmund doesn’t know if he could have gone on wooing a woman who so clearly wasn’t expressing any interest back. Crawford, however, persists.

The next day Edmund and Fanny walk about together. Fanny is gratified to know that Edmund does not blame her for refusing, but they do disagree about whether there is any future there. Fanny proclaims there is not, while Edmund says they have enough things in common to make it work. Fanny suspects Edmund may be trying to talk himself into more comfort about himself and Miss Crawford without realizing what he is doing. Fanny, in her attempts to make Edmund understand her true qualms about Mr. Crawford’s character, even brings up the disastrous play and Crawford’s toying with Maria and making Mr. Rushworth jealous. It becomes clear that Fanny, still, has a much better grasp on that entire affair than Edmund. The conversation ends with Edmund realizing Fanny wishes to speak no more of it, and Fanny realizing that Edmund is too caught up in Miss Crawford to perfectly understand what she, Fanny, is saying.

Miss Crawford visits one last time before she and her brother mean to leave the for a period of time. Fanny learns during this meeting that it had been entirely Mr. Crawford’s idea that Miss Crawford should offer Fanny a chain for her cross and had given her just the one Fanny took for that purpose. Fanny also tells Miss Crawford that she saw Mr. Crawford’s treatment of Fanny’s cousins, and, thus, could not take him seriously with regards to herself. Miss Crawford laughs the whole thing off and takes her leave.

William comes home again to Portsmouth to and Sir Thomas, after consulting Edmund, decides that this would be a good opportunity for Fanny to not only spend more time with her beloved brother, but to visit the rest of her family as well. He also suspects that a longer visit back home will encourage Fanny to miss Mansfield and the luxuries of the life she has become used to, the life that Mr. Crawford is offering her. Fanny is delighted by the scheme, eager to visit the rest of her family. Before leaving, Edmund hints that he will write Fanny when he “has anything meaningful to write about;” Fanny mentally braces herself for this future announcement.

Home is not how she remembers it. It is too loud, to uncivilized, and overall too much for Fanny’s weak nerves. She sees poor behavior everywhere about her and is saddened to see a mother much in over her head and seeming to have no idea of it herself, and a father who drinks and goes out on the town too much. She also finds herself to be largely an afterthought to many of her family members. For his part, William’s ship is soon called away, and Fanny finds her happy homecoming scheme to be largely a disappointment.

Eventually, Miss Crawford writes and notes that she has met with the Rushworths and Julia; she also notes how discomposed Mrs. Rushworth became at the mention of Fanny and Mr. Crawford. As Fanny’s stay continues, she finds worth in one of her siblings, a younger sister Susan who, while often lead astray, still seems to sense what is right and wrong in her family. Fanny makes an effort to spend more time with this sister and hopefully instill in her some of the same lessons that she, Fanny, learned from Edmund while growing up.

For his part, Edmund is now due in town and Fanny anxiously waits to hear from him and his meetings with the Crawfords. Alas, no word comes, week after week. Instead, Mr. Crawford himself makes a sudden appearance at her home. After catching up some, they go for a walk where Fanny is dismayed to find them quickly running into her father. Luckily, Mr. Price is on his best behavior and does not shame Fanny too badly. Mr. Crawford visits the next day as well. He notes her fatigued looks and asks when she is to return to Mansfield, noting that he has seen their treatment of Fanny and that she can be often forgotten. He offers to fetch her at a moments notice. Eventually, he takes his leave.

Eventually, Edmund writes. Much of his subject revolves around his pains at Miss Crawford’s changed spirits while in the company of her friends. He sees all of her formerly bad spirits coming up again; but at the same time, he confesses that he cannot give her up and is the only woman he can think of as a wife. He also notes that he has seen Mr. Crawford and Maria together and can admit that they did not meet as friends. Shortly after this letter’s arrival, Fanny gets one from her Aunt Bertram who notes an upsetting event: Tom has fallen severely ill while travelling with friends. Over the next few days, Fanny hears more and more. Tom is removed to Mansfield Park and everyone is distressed by how poorly he is doing.

Among these regular notices, Fanny once again hears from Miss Crawford. In this letter, Miss Crawford casually talks about Tom’s eventual death and all the benefits this will see to such a deserving younger brother as Edmund. She also mentions that Mr. Crawford is heading off to visit some friends where Maria Rushworth is also currently visiting. A week or so passes before Fanny hears again, this time in just a short note from Mary that mysteriously alludes to some scandalous rumor involving Henry that Fanny should disregard completely.

A few days later,  Fanny learns what this rumor is from a notice in the paper: Maria had run off with Mr. Crawford. And a few days later, still, Fanny finally hears from Mansfield in a letter from Edmund confirming the notice in the paper and adds even more bad news in the form of notifying her of Julia’s elopement with Mr. Yates. But the good news includes the fact that Edmund will be coming the very next day to fetch her and that Sir Thomas has even extended an invitation for Fanny to bring along Susan back with her.

Edmund comes and they all journey back to Mansfield, where Fanny is greeted with much enthusiasm from her Aunt Bertram who had truly been missing her. The entire family persists in misery, though Fanny does think to herself that now, at least, she must be fully justified in her refusal of Mr. Crawford. Eventually, Edmund tells Fanny of his last interactions with Miss Crawford. He had been invited to see her after the scandal with her brother had gotten out, and he went with all the strong feelings that he attributed to her and knowing that she must know this will be their last visit as friends. But instead, Miss Crawford spoke with only a modicum of seriousness and persisted on referring to the entire affair as only “folly” and bemoaning only that the whole thing had not been better hidden. She even goes so far to say that if Fanny had only accepted Mr. Crawford he would have too busy to have gotten into this mess. Edmund admits that the Miss Crawford he’d been pining over for the last several months had been a woman of his own imagination.

While the others get through their struggles, Fanny at least is happy for once. For most, her value has been finally recognized, she is free from Mr. Crawford, and Edmund is freed of the influence of his sister. Sir Thomas struggles the longest, having to recognize the failings in education given to his daughters who behaved so wrongly. Tom recovers, both physically and gaining some level of sense and duty. Maria fails to convince Crawford to marry her and ends with nothing more than a fall from society, divorce from her rich husband, and Mrs. Norris’s company in her solitude (Sir Thomas comes to recognize all the evils of Mrs. Norris, so the situation is seen as a winning one.) Eventually, Edmund comes to realizes how superior a woman he has right in front of him and professes his love for Fanny.

Heroines – “I hate to hear you talk about all women as if they were fine ladies instead of rational creatures.”

Fanny definitely comes into her own more in this second half. First, she stands up for herself and for her choice to refuse Mr. Crawford even in the face of all the displeasure of the Mansfield party. Sir Thomas, though he improves later, is initially quite harsh with Fanny, and while she’s hurt to think that he views her this way, she never falters in her convictions. Even to Edmund, the one person she’s always looked to for guidance, she trusts her own judgement rather than his (though, of course, she’s had ample evidence of his failures to really discern people’s characters as he’s gone on and on about Mary Crawford for the last several months).

Second, when she faces all of the disappointment and hardship at her home in Portsmouth, she still finds a way to be useful and to put to practice what she’s learned from Mansfield and Edmund. She recognizes the good qualities in her younger sister Susan and takes her under her wing, hoping to help her cope with her situation and grow into a better woman than much of the rest of the family. This pays off to such an extent that Susan, too, is brought to live at Mansfield, and, we can presume, to thrive.

Here, too, when Mr. Crawford comes to visit, she’s not swayed even by his improvements. She notes that he seems gentler and more caring of those around her, and she inwardly praises him for it. But as far as her own scruples go, she sees these improvements only in the light that, if he is this much better at caring for others, he will quickly realize how hurt she is by his continued pursuit of her and give her up for good. She never wavers about accepting him.

And, when she gets Edmund’s letter bemoaning Miss Crawford’s modern flaws but still insisting that she’s the only woman for him, Fanny becomes quite sharp (if even only in her own mind.) She practically calls Edmund foolish for delaying asking Miss Crawford if he’s so set on marrying her, and thinks he’s set on dooming himself, regardless of his own better insights and the knowledge that she, Fanny, has shared with him.

She’s also aware enough to be critical of Sir Thomas for delaying fetching her once Tom becomes ill, as Lady Bertram clearly suffers for Fanny not being there during this tough time. Many of these moments are small and never actually spoken aloud by Fanny, but it’s still a big change from the Fanny of the first half who just seemed to go along believing everything that was told to her.

Heroes – “What are men to rocks and mountains?”

Man, it’s almost hard to list Edmund as a “hero.” At best, he’s completely delusional about those around him, and at worst he willfully ignores his own better judgement and that of a woman he professes to respect, Fanny. Again and again, we see Fanny attempt to point out to him the inconsitencies in his views of Miss Crawford and the reality of what she says and does, and he just refuses to see it! And then writes letters to Fanny, even, bemoaning Mary’s latest issues (blaming her friends for leading her astray, though Fanny is quick to realize that it’s likely the other way around) while at the same time proclaiming that she’s the only woman he can see himself marrying. I mean, I get it, he’s infatuated with her. But this is coming about 85% of the way through the book, and it’s a bit hard to really respect him when he’s so willfully blind. We’ve been told he has good judgement, but in reality, the book doesn’t offer a whole lot of evidence of it. He’s also a terrible listener to Fanny.

While he doesn’t push the connection with Mr. Crawford on her, he also seems completely clueless  about why Fanny is not attached to him. Edmund blames Mr. Crawford’s approach as being poor, rather than truly understanding anything about Fanny herself, even when she’s blatantly (well, for her, she’s being blatant) telling him why she’s not interested. To his credit, he knows when to back off, but again, it’s because he seems to think she’ll come around on her own better without people prying than understanding that what she really needs is someone to BELIEVE WHAT SHE IS SAYING.

He so much doesn’t listen to her that when Crawford finally does show his true colors and run off, Edmund attributes Fanny’s poor health to her deep feelings for Henry. And then he piles on by immediately pivoting to how much worse he has it for being longer attached to Mary Crawford than Fanny was to Mr. Crawford. It’s pretty bad, when you really look at it. And then, in the end, sure, he comes around. But…like I’ll talk about in the romance section, it’s a bit too little too late to redeem much “heroism” for poor Edmund. He’s not a bad guy by any means, but he sure doesn’t seem to deserve Fanny, and it’s pretty hard to argue that he’s not the weakest of Austen’s romantic leads.

Villains – “I do not want people to be very agreeable, as it saves me the trouble of liking them a great deal.” 

The villains in this book all get their comeuppance in quite the dramatic fashion. No half measures here! The groundwork had all been laid for both Crawford siblings, so it’s really no surprise when they both show their true colors. But man, they both do it in quite the extreme way! Of the two, it’s almost more shocking that Mr. Crawford would stoop so low. It’s one thing to be an obnoxious flirt, but it’s entirely another to go all the way and run off with a married woman. That’s the kind of thing that, while unequal between the man and the woman in this time period, would still have a lasting affect on his reputation. Before, his other flirtations were of the sort only really noticed by the very discerning and only truly felt by his targets. He could move through society easily enough doing all of that with very few negative affects taken on himself. But his future now seems pretty grim.

Miss Crawford, on the other hand, her big villain moments seem completely in line with what we’ve seen from her before. Fanny always pointed out how thoughtless Mary Crawford was and how very wrongly she thought about things on a truly moral level. So here, when we read the letter she sends pretty much congratulating herself on Edmund’s “good fortune” on the death of his older brother and incoming inheritance, it’s bad, but not shocking. And then that she would talk about the entire Henry/Maria matter in such a cavalier manner to Edmund…more of the same of what we’ve heard from her. As readers, we’ve also been privy to private conversations between Mary and her brother and have heard her express pretty cold, laughing comments about his flirtations with women. So, to the reader, it’s no shock that she would continue to talk about his actions in this way. But to poor, poor, delusional Edmund…oof.

And, of course, Maria and Mrs. Norris get the mutual reward of a lifetime together in their shared displeasure and poor temperaments.

Romance – “A lady’s imagination is very rapid: it jumps from admiration to love, from love to matrimony in a moment.”

Oh, the romance in this book. Or, more to the point, the lack of romance. I obviously haven’t re-read the last two books in this review series yet, but I’m pretty confident in making the proclamation that this is the least romantic of Austen’s fully-realized and published novels. Not only does the hero spend 99% of the book infatuated with another woman, when he does come around to falling in love with our heroine, we literally see zero of it. Austen simply informs us that when the time was right, his feelings changed towards Fanny, and Fanny was happy about it. No dialogue, no romance scenes, no build-up. Just stated as a fact, almost an afterthought, even. It’s pretty anticlimatic, even for Austen, who, as we’ve established so far, often skipped out on really writing the final romance scenes (or at least much dialogue for them).

Instead, again, like the first part of the book, we hear a lot more about all the failures of relationships. We see Henry Crawford cave to his own inner demons even though we’re lead to believe that he did truly love Fanny (the omniscient narrator tells us so, so I guess we have to believe it, much as it grates on modern readers who may recognize his type). Mary, too, spoils her chances at happiness with Edmund and almost seems to ruin herself for future men, having a hard time in the comparisons to him. Maria ends up divorced and living along with Mrs. Norris. Julia does better than the others, but, again, based on what we actually saw of Mr. Yates, he doesn’t seem like that much of a catch and more one that was made hastily by Julia in an attempt to retain freedom than due to any real attachment. It’s all pretty glum.

Instead of the romance, most of the joy of the ending of the book is seeing Fanny finally elevated to the position she deserves. Lady Bertram and Sir Thomas both recognize her as the best “daughter” they had in the lot. She’s useful to her sister Susan, bringing her to the Mansfield party where her life is sure to be improved. And, of course, she’s rewarded with Edmund. Some have interpreted this ending as Edmund being rewarded with Fanny, but, really, I think it goes the other way. She’s the one to get what she wanted through the entire book, the one to actively wish for something that is gained in the end. And Edmund seems so passive in the entire affair that it makes much more sense to me that he is the reward.

Comedy – “For what do we live, but to make sport for our neighbors, and laugh at them in our turn?”

There is also even less comedy in this half than the first. We don’t see any more of Mr. Rushworth, and as Fanny spends so much of her time away from Mansfield, Lady Bertram’s opportunities to provide humor are also greatly reduced. There may be a sort of dark humor to be found in Fanny’s family in Portsmouth, but as we hear so much about the negatives of it all, it’s hard not to see most of it in a sad, tragic sort of light.

Mrs. Norris, for her part, also recedes into the background. Again, we don’t see much of her, and by the time we do, she’s suffering the loss of her beloved Maria and quickly losing popularity among the rest of her family. There’s a line in the end of the book about how she was never able to gain the love of those she loved. Which is just sad! Even for such a mean-spirited character.

So, um, yeah. Not much comedy. It’s pretty easy to see why Austen might have needed a pivot to the much more comedic “Emma” after writing this book.

Favorite quotes – “What did she say? Just what she ought, of course. A lady always does.”

Poor, silly Edmund:

His objections, the scruples of his integrity, seemed all done away, nobody could tell how.

And, the classic Edmund reproach:

Fix, commit, condemn yourself.

And finally:

She was of course only too good for him; but as nobody minds having what is too good for them he was steadily earnest in the pursuit of the blessing.

Final thoughts – “I declare after all there is no enjoyment like reading!”

“Mansfield Park” is a strange Jane Austen novel. It stands out for having much less comedy and much less romance than her other standard books. Fanny, too, is unlike any of the other heroines we typically find. And Edmund…well, he barely counts as a hero. It is gratifying to get to the end and have Fanny so rewarded for dealing with just so many terrible people, but that still leaves 99% of the book reading about her being abused by them. Even Edmund regularly forgets Fanny and/or fails to really listen to what she is telling him.

In many ways, as I’ve noted before, this book seems to spend a lot more time emphasizing just how wrong people can get it in the romance department. Even the good ones like Edmund who is so thoroughly taken in by Miss Crawford. All of the marriages we see are at best indifferent ones, and at worst, openly hostile, like the aunt and uncle who raised the Crawfords. In this second half, we get to see first hand how badly Fanny’s parents’ marriage is going as well, their temperaments seeming mutually unsuitable.

And by the end of the book, it almost seems like only through the sheer luck of Mr. Crawford’s poor self control that we escape two other bad marriages, that of Edmund and Mary Crawford, and, according to the narrator, the eventual marriage of Fanny and Crawford (there’s a decent sized section devoted to how, had Crawford persisted and Edmund and Mary married after all, Fanny likely would have given in after moving on from Edmund. The idea sits uncomfortably, but lucky us, we don’t have to see it.)

This book is more of a struggle for many Austen fans for all of these reasons, I think. It’s also one of Austen’s longest titles, and given the lack of comedy and romance, much of that page time is devoted to either unlikable characters or long discussions/speeches on topics that aren’t necessarily that compelling to modern audiences (like the role of a clergyman in society). For these reasons, it’s definitely the last one I suggest when people ask me where to start with Jane Austen. You have to be a pretty established fan to be able to read this book and get the good things out of it. It is funny, but mostly in the dry, sometimes hard to recognize way that Austen can be at times. And Fanny is the type of heroine that you have to believe is a heroine due to past experience with Austen’s work.

It’s also a very hard story to adapt as a film. We’ll be looking at two examples over the next few weeks, both with very different approaches to how they manage it.

In two weeks, I’ll review the 1999 movie version of “Mansfield Park.”

My Year with Jane Austen: “Mansfield Park” Part I

45032Book: “Mansfield Park”

Publication Year: 1814

Book Description: Adopted into the household of her uncle, Sir Thomas Bertram, Fanny Price grows up a meek outsider among her cousins in the unaccustomed elegance of Mansfield Park. Soon after Sir Thomas absents himself on estate business in Antigua (the family’s investment in slavery and sugar is considered in the Introduction in a new, post-colonial light), Mary Crawford and her brother Henry arrive at Mansfield, bringing with them London glamour, and the seductive taste for flirtation and theatre that precipitates a crisis.

History – “I read it a little as duty, but it tells me nothing that does not either vex or weary me.”

As her first book conceived and written as an adult, “Mansfield Park” reads tonally very different than her prior two works. Lacking the wit and sparkle of “Pride and Prejudice” and memorable characters of “Sense and Sensibility,” it was received with mixed reviews from its critics. That didn’t stop it from selling out its first run within six months.

The story takes a much more serious approach and spends time exploring themes that were important to Austen, now in her upper 30s. The Bertram families connection to plantations in Antigua and slavery are heavily touched on. The book also explores themes of infidelity, loyalty, and the exploration of the role that the clergy and faith play in the lives of the upper class.

This more serious approach appeals to some readers, both the modern ones and the book’s contemporaries. But others struggled with this tonal change and were perplexed by its heroine, Fanny Price, a young woman much out of line with the previous strong women to grace Austen’s pages. Though Fanny is of a more quiet sort, her strengths of perception, duty, and propriety never fail her, making her more alike to Eleanor Dashwood than any other character. However, the amount of page time dedicated to her actual speeches is much reduced than other heroines, leaving readers to pick up on the smaller, more subtle clues into Fanny’s true worth.  (source)

“I have something in hand—which I hope on the credit of P. & P. will sell well, tho’ not half so entertaining.”– Jane Austen

Part I – Chapters 1 – 25

Story – “The person, be it gentleman or lady, who has not pleasure in a good novel, must be intolerably stupid.”

Of three sisters, one marries well, becoming Lady Bertram of Mansfield Park. One marries in a middling way, becoming Mrs. Norris. And one marries for passion, but poorly, and becomes Mrs. Price. As the years pass, Mrs. Price feels the weight of many children and increasing poverty. Always looking to be useful (but to avoid expense), Mrs. Norris convinces her sister and brother-in-law, Sir Thomas, to take on one of Mrs. Price’s children as a ward. And so Fanny Price comes to live with them in Mansfield Park.

There, she finds an intimidatingly proper and uptight uncle, a lazy and selfish aunt, and another aunt, Mrs. Norris, who makes it her life’s work to remind Fanny how lucky she is to be living among her betters and how she must never forget how unimportant she herself is. Her cousins, Maria and Julia, though taught well, think much of themselves and care little for Fanny. Her oldest cousin, Tom, is too old to even notice her. And her only ally becomes her staunch friend and defender, the second oldest, Edmund. Over the years, it is only he who remembers to look out for Fanny and put her interests forward. Being reserved and polite to the point of silence, Fanny never does so herself.

Over the years, Fanny grows up and very little changes in her life. Her only connection to her family of origin is in letter writing with her brother William whom her uncle, Sir Thomas, helps into starting a career in the Navy. When Fanny is in her upper teens, it becomes necessary for Sir Thomas to travel to Antigua where the family’s sugar plantations are suffering. Though loving of his family, his removal lightens the mood greatly at Mansfield. It is lightened even further when a new set of neighbors move in bringing two young people, a Miss Crawford and her brother, Mr. Crawford. Both are elegant and entertaining, bringing much liveliness to Mansfield Park. The two Bertram sisters are particularly intrigued by the charming Mr. Crawfod. This is fine for the younger, Julia. But the elder, Maria, has been recently engaged to a rich, but not smart, gentleman, Mr. Rushworth.

At first, Edmund joins Fanny in being hesitant about the extent of Miss Crawford’s liveliness, feeling that too often her quick wits lead her astray and into moments of disrespect people and institutions that she should value more highly. But over time, Edmund becomes more and more enamored of Miss Crawford and begins to see only good in her. Fanny cannot follow him in this opinion, thinking cautiously of Miss Crawford and quite poorly of Mr. Crawford who she sees as toying with her two cousins. Edmund even verges on becoming neglectful of Fanny, borrowing out her riding horse to Miss Crawford for lessons. He realizes his error, but it still hurts Fanny, who has begun to feel more and more for her beloved cousin.

On a trip to Mr. Rushworth’s estate, Fanny’s fears for her cousin Maria come to a head as she sees her become more and more neglectful of her own fiance. At one point, while walking, Mr. Crawford and Maria send Mr. Rushworth off in search of a key to a locked gate, then shortly after he leaves, jump the fence and continue on their way without him. Fanny is distressed, even more so for being abandoned by Edmund and Miss Crawford who also make their way forward when Fanny is tired and seem to forget about her for an hour while she waits patiently. On this same trip, Miss Crawford is dismayed to learn that Edmund plans to become a clergyman in a few short months. Being neither a rich profession or a distinguished one, she is quite alarmed for she, too, has begun to imagine a future with Edmund. Fanny is dismayed to hear her speak so poorly of the profession and is astonished that Edmund tolerates even as much as he does; but he is clearly falling more and more in love with her. Mrs. Norris, who accompanies them, of course reminds Fanny just how privileged and lucky she is to experience joys like this.

That fall, Tom and his friend, Mr. Yates, join the group at Mansfield Park. Mr. Yates has the inspiring idea that they should put on a home theatrical. Everyone is all for it, except for Edmund and Fanny who protest that it is not only inappropriate but disrespectful  of Sir Thomas’s wishes, as everyone knows he would disapprove of this plan. Eventually, however, Edmund caves and takes on a role alongside Miss Crawford. Edmund justifies his change in heart as due to his wish to avoid adding stranger to their party to complete the cast, but Fanny hurts to see him become inconsistent and weak in this way.

Having managed to string both sisters along quite successfully for several months, things come to a head between Mr. Crawford, Maria, and Julia when it comes to assigning parts to the play. With only one major role for a woman left to fill, and a part that plays the love interest for Mr. Crawford’s character, Mr. Crawford shows his hand when he advocates for Maria to play the part. Crushed, Julia refuses to be in the play any longer. Maria is exultant in her triumph and pays less and less attention to her betrothed. Fanny tries to bring up her concerns to Edmund, but he doesn’t see it.

A few days before the play is to be put on, Sir Thomas arrives back home unexpectedly. With his arrival comes a swift conclusion to everything having to do with the play. He is disappointed in Edmund for allowing to happen, as well as Mrs. Norris, whom he depended upon to argue his point in situations like this while he was gone. Mr. Yates, whom Sir Thomas strongly disapproves of, makes a quick exit. So, too, follows Mr. Crawford who make very few excuses or goodbyes before leaving abruptly. Maria’s hopes are dashed, and instead she becomes even more dedicated to her marriage to Mr. Rushworth which will afford her wealth and independence. After the marriage, she and Julia depart to Brighton.

Now, as the only young lady in the house, Fanny’s position is brought further forward. Miss Crawford seeks her out as a companion, and Fanny, to Mrs. Norris’s horror, is asked to spend time with her and even attend a dinner party. Fanny sees this more as an obligation than as a joy as she is continually pained by brief moments of Miss Crawford’s inappropriateness as well as the growing attachment she sees forming between Miss Crawford and Edmund.

At her first dinner party, Mr. Crawford suddenly reappears. He means only to stay for a few weeks, but seeing an intriguing and new conquest in Fanny, he decides to stay on later. Her complete disinterest and coldness towards him only inspires him further. Miss Crawford laughs at his exploits and tells him not to toy with her too much. Luckily Fanny is warded by more than just a dislike for Mr. Crawford, but with a previous attachment to Edmund. She begins to appreciate some of Mr. Crawford’s charms, but can never forget his cruel treatment of her two cousins.

A true joy comes to Fanny in the arrival of her brother William who is currently on shore from his duties in the Navy. Sir Thomas is pleased to see him coming along well, and Fanny is in raptures having a beloved sibling by her side, someone whom she doesn’t fear, or feel inferior of, or feel obligated to. Mr. Crawford finds more opportunities to gain points in Fanny’s book by lending William his hunter for the majority of William’s stay.

Heroines – “I hate to hear you talk about all women as if they were fine ladies instead of rational creatures.”

Fanny is definitely a very different heroine to the types we’ve met before. She’s probably most like Eleanor, but with much less confidence in her own judgement. Like Eleanor, readers can fairly quickly identify Fanny’s views as the ones to hold as correct. But Fanny herself rarely voices them, and those around her, excepting Edmund, rarely know that what she is thinking. Even Edmund dismisses Fanny’s concerns about Miss Crawford in general, and the play specifically. He seems to agree with her overall, but in actions, chooses to ignore her warnings. Fanny sees what Mr. Crawford is about, warns Edmund as much as she is able, and he still does nothing. When even her most staunch supporter is not truly valuing the wisdom she has, and when the rest of her life is full of either being ignored or openly scolded, it’s no wonder that Fanny would be as reserved as she is. She is given not practical evidence that her opinions are being held of any value, and it’s to her best credit that she still stands firm behind them. And even if she doesn’t voice them often, she never wavers in her evaluation of those around her.

At some points in the story, it almost seems as if Fanny is suffering from a sort of Stockholm syndrome. Particularly where her Aunt Norris is concerned. She seems to understand, on one hand, how horrid Aunt Norris is in general, but she also has moments where she believes her all to well and is even thankful for her pointing out how lucky she, Fanny, is.

I think it is this sort of excess humility and gratitude for common decency that leaves many readers turned off by Fanny. That combined with the fact that she rarely ever speaks. We’re privy to what’s in her mind, but the book is definitely lacking the strong speeches from its heroine that books that came before had. When Fanny does speak, it often feels like she’s only saying half of what she should or indulging in a poetical moment of whimsy over nature or the clergy or some such subject. Which, while interesting enough, doesn’t really hold up to the witty speeches of Elizabeth Bennett or the strong sense of Eleanor Dashwood. And for modern readers, these lengthy speeches devoted to topics such as these can be a bit dull, especially if that’s most of what you have from your main character.

Heroes – “What are men to rocks and mountains?”

Edmund is a strange sort of hero and an even stranger romantic hero. Indeed, most of his heroic deeds are mostly limited to acts of kindness given from a beloved brother. It is clear that this is how Edmund himself views the relationship, even if Fanny begins to see him differently.

He’s also an odd hero in that we see a lot of his flaws almost from the very beginning. He falls for Miss Crawford very quickly, despite correctly identifying several of her faults right from the start. But, like all fools in love, he quickly begins to dismiss these, even when they are directly targeted towards things he holds dear, like his future profession as a clergyman. We also see her influence lead him astray. His only moments of true neglect of Fanny all come in service of following Miss Crawford’s whims and desires. Miss Crawford wants to learn to ride, so Fanny is deprived of a horse for several days before he finally notices her declining health. Miss Crawford wants to explore further at Mr. Rushworth’s estate, so Fanny is left behind on a bench for much longer than is polite or considerate. And, worst of all, he rightly expresses disapproval of the acting scheme they all take up, but is soon drawn in under only the barest of excuses.

Further, he is an odd hero to modern audiences as many of his kindnesses towards Fanny are phrased around his improving her mind and directing her interests. To those not familiar with the language of the time or unable to firmly root themselves in the specific place and time, this type of language can sound demeaning at best, and at worst, a bit like grooming. Obviously, fans of Austen’s work don’t read it this way, but it does probably add to why Edmund is one of the more forgotten of Austen’s heroes, especially on contemporary lists.

Villains – “I do not want people to be very agreeable, as it saves me the trouble of liking them a great deal.” 

As I’ll get into a bit later, there aren’t a lot of comedy characters in this book. But to make up for that lack, there are a bunch of villains or quasi-villains. To some degree or another, other than Edmund, every member of the Bertram family treats Fanny  pretty poorly. The sisters and older brother ignore her. Mrs. Bertramm only really values Fanny for what she offers herself. Sir Thomas, though generally well-meaning, is intimidating and doesn’t attempt to form a truly caring relationship with his young niece. And, of course, Aunt Norris is the worst of them all.

I think Mrs. Norris truly has to be one of the most despicable characters in all of Austen’s repoirtoire, especially considering her role. Most other villains are typically caught up in the misdeeds of the romances at the heart of the story (we see two, to varying degrees, examples of that here). But Aunt Norris is just a mean, spiteful, small person all around. One has to imagine that it is her constant nagging and heartlessness towards Fanny that largely instills in Fanny the low value she places on her own wants, needs, and opinions. With a constant negative source such as an Aunt Norris influencing her from an early age, it would only be the most stout of characters who could withstand it without some sort of psychological damage. Really, Fanny comes out of it with more self-esteem than many in position would expect to have.

And, of course, we have the Crawfords. We see the flaws in both of these characters almost immediately. Being privy to private conversations, we see that Miss Crawford not only sees her brother playing with the feelings of Maria and Julia, but seems to think the entire thing is a funny joke, showing little to no empathy for her fellow women being toyed with purely for Mr. Crawford’s amusement. And Mr. Crawford, obviously, is about nothing good with his toying with both Maria and Julia. Like Fanny, we see that he attempts to string them both along as long as possible, doing just enough to keep Julia’s attention and hopes focused his way while also devoting most of his attention to the already-engaged Maria.

And both of these two are even worse when they turn their attention to Fanny. To some extent, we can be lead to believe that Mr. Crawford does end up with some true feelings for Fanny. But it is blatantly clear that he does not start out that way. She’s a challenge and nothing else. And like before, Miss Crawford just teases him and tells him not to hurt poor little Fanny too much. This is all the worse for Miss Crawford being astute enough to recognize Fanny’s inherent good qualities, qualities that both older Bertram girls didn’t have. Plus, she knows of Edmund’s love for Fanny, something that one would think would factor into her concern for Fanny’s welfare. But no.

Romance – “A lady’s imagination is very rapid: it jumps from admiration to love, from love to matrimony in a moment.”

There is pretty much zero romance in this first half of the book for our main character. It is well-established that Fanny has feelings for Edmund, but most of her time is spent slowly reconciling herself to the fact that Edmund is falling for Mary Crawford. Given her extreme humility, she doesn’t see a future for herself with Edmund, seeing herself as not deserving of him. But she rightly also knows that Mary really doesn’t deserve him, and that Edmund is willfully blinding himself to her faults.

We’ll get to how the romance resolves at the end of the book in the second part of my review, but overall, “Mansfield Park” spends a lot more time looking at the unpleasant aspects of marriage and love and how very wrong so many people get it. How even the most reasonable people, those who seem to be the most clear-sighted, can fool themselves when infatuated with charm and beauty.

Beyond Edmund and Mary, we have the original story of Fanny’s mother marrying for love, only to be quickly disappointed by a life of poverty, excessive children, and a drunkard husband. We also have the second-hand story of Mary and Mr. Crawford’s aunt and uncle who have an unhappy marriage and, through growing up under their influence, shape these two young people’s attitudes about marriage and love. We also see Maria Bertram make a choice, not once but twice, of marriage for money. The second time, after being spurned in her love for Mr. Crawford, she’s even more willful in the choice she’s making to enter an unhappy marriage. Indeed, there are very few positives takes on love and matrimony in this entire book. It’s almost as if Austen wanted to temper her other works with their rosy pictures of love and matrimony and almost seems to go overboard here.

Comedy – “For what do we live, but to make sport for our neighbors, and laugh at them in our turn?”

There are so many villains in this book that it’s hard to find characters who play much of a comedy role. Indeed, like the romance, the comedy of the story is quite restrained in comparison to the books that came before it. In that way, it’s refreshing to think of “Emma” coming after this one, what with its plethora of hilarious characters, most of whom don’t have a villainous bone in their body.

The best examples are probably Lady Bertram and Mr. Rushworth. Lady Bertram fades into the background through much of the story and plays her own part in taking advantage of her kind niece. But it’s also clear that she really does care for Fanny, even if she doesn’t know how to express it well or prioritize her feelings or care. I think one of the funniest lines in the book is when Lady Bertram falls asleep during the discussion of the play, is woken up, claims to never have been asleep, and this is mocked by her oldest son that no one would have suspected it, what with her lolling head and deep breathing.

Mr. Rushworth, of course, is good for several laughs. But he’s also so pitiable that it’s hard to not often be distracted by that. But his repeated discussion of his many speeches and wardrobe changes for the play are definitely chuckle-worthy.

Favorite quotes – “What did she say? Just what she ought, of course. A lady always does.”

Good early quote to set the appropriate tone for Mrs. Norris throughout:

Nobody knew better how to dictate liberality to others; but her love of money was equal to her love of directing, and she knew quite as well how to save her own as to spend that of her friends.

Even early on, we see that Fanny has the right of it over Edmund, but is too unsure of herself to really put forward her opinion. Here she has a much clearer image of Mrs. Norris’s character than Edmund does, even though Edmund has grown up with her and is older than Fanny:

“I cannot see things as you do; but I ought to believe you to be right rather than myself, and I am very much obliged to you for trying to reconcile me to what must be.”

And a classic favorite, but a good one none the less:

Nothing ever fatigues me but doing what I do not like.

In two weeks, I’ll review the last half of “Mansfield Park” and share my final thoughts on the book as a whole.

My Year with Jane Austen: “Emma Approved” [2013]

mv5bmtq0mjewndk5of5bml5banbnxkftztgwmjuznta3mde40._v1_sy1000_cr007231000_al_YouTube Series: “Emma Approved”

Release Year: 2013

Actors: Emma – Joanna Sotomura

Alex Knightley – Brent Bailey

Harriet Smith – Dayeanne Hutton

Frank Churchill – Stephen A. Chang

Comparison – “Indulge your imagination in every possible flight.”

First off, as a comparison to the other YouTube adaptation I’ve reviewed in this series, I think this version is much more successful than the last. For one thing, I think we got to actually see more of the events we’re familiar with from the book on the screen. In the other version, we mostly had Lizzie telling the viewers second-hand stories or trying to re-enact them. Not only do I not thing that actress was fully up to the job, but it was always going to be a hard sell when you don’t have the actual people in front of you. Here, the casting is not only perfect and this Emma, I believe, is a strong actor, but many of the scenes and conversations from the book are included on screen. Having a larger and more varied cast really helps this version.

I’ll get into it more later, too, but this version also comes off better than the “Lizzie Bennett Diaries” in the romance arena. Alex Knightley is in the majority of the episodes, and it is the relationship between him and Emma that carries the show almost equal with Emma’s own arc of foibles and ultimate self-realization. Due to his being around for so much more of the story, and for the audience to have plenty of opportunities to see him and Emma together, their ultimate romantic conclusion is much less awkward and weird to watch from a viewer perspective.

As a comparison to the book, I think it does really well. It really hits most of the major plot points, and the set-up of Emma and Alex running a match-making/event organizing company really works well for much of it. I loved the clever interpretation it brought to many of the characters and important scenes. They also threw in a bunch of lines from the book that are sure to please avid “Emma” lovers.

Overall, I definitely enjoyed this version more than the other. I had wondered whether simply viewing these a second time was part of my struggle with “The Lizzie Bennett Diares,” but I really enjoyed this one, probably as much as the first time. So, I think this one is just better overall. I think the story is probably better suited for this type of thing. The acting was better. And overall, it just came together in a much more seamless, natural way.

Heroines – “I hate to hear you talk about all women as if they were fine ladies instead of rational creatures.”

I really like Joanna Sotomura’s take on Emma. I think she nails the essential elements of the character. She’s charming, witty, and overly confident. But also endearing and sympathetic, so when she blunders, it’s easy for the viewers to be in her corner and root for her ultimate success. Even early in the show, when we see her beginning to doubt the success of the Westons’ marriage, her balance of cocky over-assurance and intervention still comes off as sympathetic when paired with her obvious concern. It’s clear that she values her reputation as a success, but we also never doubt that she cares about those around her.

All of this is even more striking once Caroline Lee shows up. Alex Knightley even compares the two, saying they have a lot in common about interfering in other’s lives thinking they know best. Emma protests that she is nothing like Caroline, and while we can all see the point that Alex is making, Emma is also right. It’s distinctly clear to the viewers that they are different and while Emma blunders sometimes and doesn’t see everything clearly, she, unlike Caroline, truly does care about those she thinks she is helping and hurts for them when she messes things up.

I also really like this version of Harriet Smith and Emma’s older sister, Izzy. Harriet is a perfect modern adaptation of the character we have on the page. She clearly idolizes Emma, and while I, personally, don’t put much stock in fashion choices as a major personal improvement, we do see her gain confidence in herself.

And Izzy’s struggles with her husband are very relatable, not being able to stand up for herself in the face of her husband’s strict adherence to financial planning. Here, too, we see Emma really shine as she sees a problem that no one else, including Izzy, sees and manages to fix, albeit with a few bumps in the road. It’s actually one of the few moments where Alex’s Knightley’s criticisms of her come off as the least sympathetic, as anyone hearing Izzy’s account of how her requests have been constantly denied can see that Emma has the right of the situation, not Alex or his brother. Complaints that John feels like choices are being made behind his back land on supremely unsympathetic ears to my mind. But I’m also biased as a stay-at-home mom (for now) myself and Izzy’s situation razed my hackles immediately.

Heroes – “What are men to rocks and mountains?”

I also really like this version of Mr. Knightley. I think this is probably what stands out the most when comparing my experience watching this adaptation and “The Lizzie Bennett Diares”: there was really no escaping, there, the challenge of having your leading man absent for half of the run and then only in a handful of episodes after that. Here, Alex is almost in every single episode, and his bantering, lecturing friendship with Emma is clearly the foundation upon which all the rest of the show is built.

The actor really nails the balance between fond dismay at Emma’s actions and the more serious interventions when he sees her crossing a line. His frequent exclamations of “Emma!” are perfectly in-tune with how I’d imagine a modern Knightley would interact with Emma. The idea of them being business partners is also a clever way of keeping the two constantly in each other’s circles and Alex Knightley constantly attuned to Emma’s antics.

He also does very well with the few fights they have, lecturing Emma on her intervention into Harriet’s life (she’s not even a client!) and her poor treatment of Maddie Bates towards the end. But we also see him stand by her when it matters, catching himself in the middle of his anger about Emma’s interference in their siblings’ relationship when he realizes that Emma may truly be on to something that none of the rest of them see.

Perhaps it’s due to the increased screen time or just the character himself, but I was a much bigger fan of this actor’s Knightley than I was of Darcy in the other version. While Darcy, by the very nature of the character, is a bit harder to warm up to, the actor didn’t really have enough “oomf” to land him as endearing once he did arrive. It’s a very hard line to walk, trying to make a romantic hero who rarely smiles appealing. So this character was probably much more easy, but I still think credit goes to the actor for doing such a good job.

Villains – “I do not want people to be very agreeable, as it saves me the trouble of liking them a great deal.” 

Mr. Elton’s character is reimagined into a snobby politician, and it’s a great alternative. He’s just as insincere and ambitious as the original character, and it’s easy for audiences to quickly see that Emma is sniffing up the wrong tree with him. There’s also a great adherence to the original story with Emma misunderstanding who gifts (poems in the original, flowers/yogurt/concert tickets here) are for. And then later Emma writes a song to have Harriet perform, and Elton Tweets it out, with Emma clearly missing that he is taking the song as proof of Emma’s interest, not Harriet’s. When it all comes to a head, he is all the more unlikable for being such a stuck-up snob. This Harriet is nowhere near as “questionable” as the version in the book where things like unknown parents could be a very real detractor. What’s actually wrong with this Harriet? Nothing, other than not being as fancy as Emma or the later Mrs. Caroline Lee/Elton.

Speaking of Caroline, that has to be one of the best surprises of this entire run, and a perfect nod to fans who watched both series. Those who have know to immediately dislike her and understand her nods to “not minding documentaries.” But she’s also obviously bad enough for new viewers to not need much to equally dislike her. I love the substitution for calling Mr. Knightley “Knightley,” to calling Alex “Al.” And, of course, Emma’s complete disgust at it all.

Frank Churchill is also perfectly cast. I have to imagine he watched some other versions of “Emma” before taking this part as there seem to be direct nods to other actors’ versions of the part in the way he performs it. Even in the delivery of his lines, he just fits perfectly alongside all the other variations of this character we’ve seen. And, in a satisfying twist to the story, his truly bad actions, like flirting with Emma and dismissing Jane so harshly, are not swept under the rug. Instead, she dumps him, and the show ends with him realizing he wants her back and will have to work for it. It’s a dose of justice for the Jane Fairfax character who I always sided with Mr. Knightley on: “I feel sorry for her.”

Romance – “A lady’s imagination is very rapid: it jumps from admiration to love, from love to matrimony in a moment.”

The romance in this show is probably almost as important as the depiction of Emma herself. Unlike the book, to most media consumers, it’s pretty obvious from the start that Emma and Alex are endgame, thus their chemistry and interactions are important from the very first. Luckily, these actors have great chemistry together, and their teasing, friendly relationship is just the sort that appeals to fans of rom-coms.

We never see anything truly overt on either of their sides throughout most of the show, but it’s still pretty clear. Alex’s early dislike of Frank Churchill is probably the biggest clue on his part. And, of course, Emma’s dismissal at her friend’s theories about Alex and Jane speak to her unknowing interest in him.

I really liked how they played Emma’s realization about her true feelings for Alex. The actor really manages to nail the shock of Harriet’s confession and then through mostly subtle facial expressions, demonstrate Emma’s change of heart. It’s also really great how they play the scene where Emma is trying to be a good friend to Alex but puts him off from his confession due to her concerns that he is about to confess his love for Harriet. When she chases after him again, there’s some really nice humor in her trying to build herself up to hear the news. And then, later, Alex’s question about what she thought he was about to say when the truth.

I also really like the final payoff we get for a running joke we see throughout about flowers being romantic. Early on, Elton brings Harriet a new kind of yogurt and flowers for Emma. And it is only after the whole debacle comes to light that Emma has to re-orient herself with a new mantra: “Food means friendship. Flowers mean romance.” So it’s really great to see this come around again when Alex gives her flowers, and she, bewildered, says “But…flowers mean romance.” It’s very sweet.

On a general note, I also found this romance much less voyeuristic and uncomfortable to see come to a head. I’m not sure why. It’s probably some combination of the increased screen time for the romantic hero. The fact that the Alex character is just much easier to see in a romance plot line than the version of Darcy we had in the other YouTube series. Or the simple fact that these actors had better chemistry. It also probably helps that we see their entire relationship progress and the fact that they are so comfortable with each other from the start makes the audience more comfortable as well. Lizzie and Darcy were so awkward together that it’s no wonder they made others uncomfortable watching them!

Comedy – “For what do we live, but to make sport for our neighbors, and laugh at them in our turn?”

Emma and Alex do most of the heavy lifting as far as the comedy goes as well. They by far get the most screen time and, with their character arcs, have the most opportunities to take advantage of comedic elements in the story. Harriet is too sincere much of the time to really be funny. Jane Fairfax is almost too serious to really like in this version.While I like that her relationship with Frank Churchill ends, this was probably the one character in this show who seems the most different than their book counterpart. She’s almost so snobby in her “do-goodery” that one finds oneself coming down on Emma’s side of their conflict. In the book, it’s clear that Jane is a good natured, though quiet, woman and most of Emma’s problems with her are based purely in the fact that she makes Emma insecure. Here, however, Jane is kind of off-putting, making Emma’s discomfort feel completely natural.

This mostly leaves Maddie Bates to carry the rest of the weight for the comedy side of things. And she’s great! I really love how they carried over Mrs. Bates deafness and how Maddie Bates will dictate back conversations with her mother by starting out “And then I said ‘MOMMA!'”, yelling that last word at the camera. It’s just great. I also really liked this version’s interpretation of the Box Hill incident. Here it’s for a restaurant opening, Boxx Hill, that Emma and her company are hosting. Maddie tries to bring forward her (terrible) home-made jams, and Emma publicly mocks her for how bad they are. It’s a perfect adaptation of the incident, and even though we don’t see it, we get to see plenty of the fall-out as Jane quits the company and Alex delivers the famous “Badly done!” line. But, of course, it all ends well with Emma apologizing to Maddie Bates, and Maddie demonstrating how truly good and kind-hearted she is by quickly forgiving Emma and working to help her in Alex’s absence.

Fun facts – “Life seems but a quick succession of busy nothings.”

Not a lot for this one, it seems: the actors who played Emma and Alex Knightley were dating while they filmed this. That probably helped with the good ole chemistry. They’re also both currently in a show called “Quarantine” about out-of-work soap opera cast members in L.A. Mildly interested in checking that out, mostly due to the adorableness of these two here.

Best Movie Gif/Meme: “I dearly love a laugh.”

Just a cute little moment between these two. Really, their relationship is the funniest part of the entire thing.

In two weeks, I’ll the first half of “Mansfield Park.”

 

My Year with Jane Austen: “Clueless” [1995]

mv5bmzbmogq0nwitotzjzc00zdaxltgyotetodjiywq2ywniywvjxkeyxkfqcgdeqxvynte1njy5mg4040._v1_sy1000_cr006691000_al_Movie: “Clueless”

Release Year: 1995

Actors: Cher – Alicia Silverstone

Josh – Paul Rudd

Tai – Brittany Murphy

Christian – Justin Walker

Comparison – “Indulge your imagination in every possible flight.”

“Clueless” is definitely a movie of its time, but it’s still a blast to watch today. Similarly to “Bridget Jones’s Diary,” is a modern adaptation of Jane Austen’s work which means that while some things follow along pretty faithfully, there are also a lot of changes to make it work as a modern tale.

I really like the initial match-making switch. Instead of a governness, we see Cher setting up two of her teachers in an attempt to improve her grade. On one hand, this makes Cher’s reasons much more self-centered than Emma’s, but the change works well, I think. After her initial success, Cher decides that she likes helping people like she did for these two, sad, pathetic teachers. And so she takes Tai (Harriet Smith) under her wing. In many ways, her goal in helping Tai is much more centered around making Tai popular than specifically matching her up with someone. In the book, Emma had already proclaimed a desire to match Mr. Elton up before zeroing in on Harriet. Here, we see Cher directing Tai’s love life more because Tai’s original interest (a drugged up skater boy) would not be a good match for a popular girl. Elton is then selected as a proper match for someone of Tai’s aspiring popularity.

This arc then comes full circle when we see Tai become truly popular and then snap at Cher in all of Tai’s mean girl glory. So Cher’s “what have I done?” is much less about her project girl being interested in someone whom she realizes she cares for (though that is a factor), and more to do with how sweet and nice Tai had been before Cher’s meddling in her life. Luckily, on Tai seems to course correct on her own at the end of the movie.

All of the actors cast for various parts work great, and it’s definitely one of those movies where you see really young version of actors who went on to do bigger projects. Brittany Murphy, for example, is barely recognizable as Tai. And obviously Paul Rudd would go on to be a household name type actor. But even the smaller roles, like the two teachers and Cher’s father, are all pitch perfect and really help round out the movie.

Heroines – “I hate to hear you talk about all women as if they were fine ladies instead of rational creatures.”

Cher is probably the least likable Emma we’ve come across so far. On one hand, this is understandable because she’s the only teen version we’ve had. At 15-16, she’s four or five years younger than the version in the book and the other two adaptations I’ve reviewed. Not to mention the very different education and expectations she would face in L.A. in the mid-90s versus the Regency period. But she’s also given the fewest opportunities to show her good side as well. The movie leans in heavily to how spoiled she is, doing very little to counterbalance it with good deeds. Like in many other versions, it mainly relies on showing her care towards her father as the best look into her inherent goodness. But as her father is also less likable than other versions…

Not to say that you don’t end up rooting for the character, just that it’s a bit harder. Her constant up-speak is also a bit tough to handle, dating the movie and also signaling what is now a cliche of an entire new level. At the time, it was just a valley girl thing, but now the trope is so often connected with idiocy that it doesn’t do the character any favors to modern viewers.

I do like that the big realization moment for her is less her being rude to one individual, but seeing the type of person she’s turned Tai into. Tai was originally this sweet, friendly character. And after snapping and being rude to Cher, we see Cher realize that actual “value” of the things she’s been sharing with Tai. Tai is like a brutal mirror that is held up to Cher, and that, along with the realization about her general “clueless-ness” is enough to inspire change. It’s also pretty clear that she doesn’t do any of this in an effort to impress Josh, making it feel like the type of change that will be more lasting.

Heroes – “What are men to rocks and mountains?”

Josh is a pretty solid mid-90s teenage interpretation of Mr. Knightley. Having him being interested in a law (and with a less than stellar mother) is a good excuse for having him want to hang around Cher’s house and work with her dad. Of course, we can’t have him scolding Cher in quite the same way. It wouldn’t come off nearly as well with the age difference being so much more close and the times making it all sound much more patronizing and unappealing if he had done. Instead, we see him being more subtly critical of Cher’s superficial tendencies while at the same time clearly enjoying her company.

And, of course, no discussion about Paul Rudd can be had without acknowledging the freakishness of his lack of aging. It almost makes the age difference seem weird since he looks so much the same when he’s much older that he could just as well be in his mid-thirties in this movie as younger twenties.

I really liked that they included a version of him coming to Tai’s rescue and dancing with her. This version does a weird thing where we have the “rescue” of Tai by Christian, as well, but then it does nothing with this. It’s already established that Christian is gay at this point, and there is no inclusion of Cher becoming confused by any reference of a “rescue” by Tai. It’s kind of a weird choice. Instead, it’s used mostly to elevate Tai’s popularity which results in her later nastiness to Cher. But eh, I still like that they included the Tai/Josh dance thing. It’s a great moment for giving Cher more insight into why Josh is such a great guy.

Villains – “I do not want people to be very agreeable, as it saves me the trouble of liking them a great deal.” 

Elton is by far the biggest “villain” in this movie. Not only is he not interested in Tai, a stuck-up ass about popularity status, and all of that. He repeatedly accosts Cher when she’s clearly said “no,” pretty much forcing her to get out of the car to avoid him. And then he leaves her in a bad part of town to be mugged. Much worse that the book version of Mr. Elton. I do like that he’s one of the few characters whose name remained the same. I guess it works pretty well for a snobby L.A. teenage boy in the 90s.

Christian, on the other hand, is really not much of a villain at all. Other than perhaps leading on Cher more than he should have, he seems like a pretty decent guy. It’s kind of unclear why he misleads her at all in the first place. He must know that she’s misinterpreting his actions, but at the same time, he’s not too subtle about hiding true orientation. Everyone other than Cher seems to see it, and we don’t see any push back in the movie itself about it. It’s definitely a unique take on her misunderstanding with this character role. This makes much more sense than any hidden romance would have, given the time period. And it’s kind of nice to have the movie end with Cher and Christian kind of being besties, instead of the tense, friendship-pretty-much-over state that Emma and Frank Churchill are in at the end of the book.

There’s also the jerk lawyer guy who snaps at Cher at the very end of the movie, thus making Josh come to her defense, thus serving as the impetus for the relationship getting started. So is he really a villain in the end?

Romance – “A lady’s imagination is very rapid: it jumps from admiration to love, from love to matrimony in a moment.”

The romance in this movie does play second fiddle to the comedy. There are a few moments here and there that speak to Josh and Cher’s ultimate future, but they are scattered in between the bigger comedy scenes featuring Tai, Cher, and Dionne’s antics. We have the aforementioned dancing scene, of course.  There’s a small moment where Cher and Josh are hanging out at home watching a movie, and Cher seems to make a passing comment that sometimes having a quiet evening at home is more fun than all the social outings one could come up with.

And Josh is the one to come to Cher’s rescue after the Elton incident. This serves as a good point for Josh realizing that he’s into Cher as we see Cher correct Josh’s then girlfriend on some quote from Shakespeare. Josh smiles at this and seems not at all concerned that his girlfriend is pretty displeased at being shown up by a high schooler. And we get an even clearer idea of his interest when he follows Christian and Cher on their “date” just for “safety.” It’s very cute.

The actual romantic conclusion of them kissing on the stairs is a bit awkward, I think but fine enough. And then I think the cut to the wedding scene is pretty hilarious and a nice hats off to Jane Austen’s endings always featuring weddings of the main characters. And in this scene, the already established relationship between Josh and Cher reads as much more natural and enjoyable to witness.

Comedy – “For what do we live, but to make sport for our neighbors, and laugh at them in our turn?”

Well, watching it now, there’s two sides to the comedy coin. There are the things the movie meant to be funny. And there are the things that are simply hilarious because of how dated it makes the movie feel. The very first scene, even, with Cher selecting her outfit on this old computer screen is just comical. Especially because it’s supposed to be set up as a way to establish how well-off Cher is. But to modern eyes…it’s some janky stuff.

The fashion, also, is hilarious. Even growing up in the 90s myself, it’s hard to get a good read on how accurate this way versus how much of it was blown up to extremes to show off Cher’s situation. Either way…man, gotta love it. Even Cher spends a moment (in an odd tonal break in the movie) to point out how bad men’s fashion was at the time. But, on the other hand, her friend Dionne is pretty much literally wearing a plastic bucket for a hat in the opening scene. So.

Dionne and her boyfriend don’t have any obvious parallels in the book itself that I can think of. But they play well for humor here. I especially like how all the comedic moments early on that highlight their bickering and public feuding are later tied together to show that, while they enjoy the drama in the crowd, in private they are much more caring and loving towards each other. In this way, they serve as a good example of love to Cher as she’s going through her awakening period.

Fun facts – “Life seems but a quick succession of busy nothings.”

The director was asked to simply create a movie for teenagers. It was her own fondness of reading “Emma” as a teenager that inspired her to adapt that book into a teen movie.

There are 63 different costume changes in this movie.

Gwyneth Paltrow was considered for the role, but never auditioned. One would imagine she had her own “Emma” thing going around then.

While according to filming this was his second movie, “Clueless” was released first and thus is the movie that introduced the world to the lovely Paul Rudd.

Best Movie Gif/Meme: “I dearly love a laugh.”

I didn’t actually do it, but I was tempted to count the number of “As ifs!” we had in this movie.

This seemed to be the most classic “Emma” moment in the entire movie:

In two weeks, I’ll review the YouTube series “Emma Approved.”

My Year with Jane Austen: “Emma” [2009]

mv5bmtgxmdc1mzqxmv5bml5banbnxkftztcwmzy0mzuwmw4040._v1_TV Mini Series: “Emma”

Release Year: 2009

Actors: Emma – Romola Garai

Mr. Knightley – Jonny Lee Miller

Harriet Smith – Louise Dylan

Frank Churchill – Rupert Evans

Comparison – “Indulge your imagination in every possible flight.”

As it is so much longer than the previous version, this mini series was able to do what the 1995 BBC version of “Pride and Prejudice” was able to do for that story. Every  major scene and character is included, and the series doesn’t shy away from adding its own touches here and there which further flesh out side characters like Frank Churchill and Jane Fairfax. The series also plays fairly fast and loose with the dialogue, but overall it retains the spirit of every exchange and there are few instances where these changes stand out.

One of the more major changes from the book is in the framing of the story around Emma, Jane Fairfax and Frank Churchill and how their lives were greatly influenced by the losses they experienced as children. This version of the story devotes quite a bit of time to the story before where the book itself picks up. In this way, we really do see how Emma has always been the center of attention. Unlike the other two children without a parent(s), she stays home. We see that even as a governess, Miss Taylor is bewitched by the charming Emma. And, of course, her father can see no flaws in her. Mr. Knightley is the only one to critique her, and even he admits privately that she’s the most beautiful and smart of her family. The movie also does a lot of groundwork to set the stage for Emma’s matchmaking. This version has Emma claiming to be the influence behind her sister and John’s marriage, a change from the book. So by the time she gets to Miss Taylor and Mr. Weston and has success there, it’s hardly any wonder that she believes herself an expert in this area.

The cast is also superb. There’s not a single misstep in the entirety. If forced to single someone out, I might say that this version of Jane Fairfax leaned very heavily into the reserved portion of her character at the expense of her elegance. In this way, the 1996 version may have come out ahead. The Jane we saw there was undeniably elegant, and it was easy to see why Emma would be threatened by her. This Jane had a tendency to fade into the background and read as more shy than anything else. But other than that small quibble, I really loved everyone who was cast in this. Michael Gambon is probably the standout as far as excellent side characters, and he really helps sell the loving, but dependent, relationship Mr. Woodhouse has for his daughter.

Heroines – “I hate to hear you talk about all women as if they were fine ladies instead of rational creatures.”

Romola Garai’s Emma is very different than Gwyneth Paltrow’s. Where Paltrow’s version was more cool and collected, Garai’s is joyous and exuberant.  This version of Emma seems to ground more of her flaws in youth and actual inexperience with the world and people than in any true character flaws. In many ways, I think this is very accurate to the book. Both there and here, we see a character who has always been the center of every social situation she’s in: family, friends, and the greater neighborhood overall. It’s like Frank Churchill notes later, “she presides over all.” It’s no wonder that this early regard from almost everyone in her life, regard pushed to the point of adoration even, would have this effect on her. We only ever see Mr. Knightley be critical of Emma and her decisions and even he can’t resist pairing his criticism with compliments (to her looks, when he is talking to Mrs. Weston, and to her wit, however misused, when he’s fighting with Emma herself).

Garai’s version of the character definitely pops on the screen, and it’s easy to see how the eyes of all would be drawn to her. She has a much more playful take on Emma’s matchmaking than we’ve seen before, but is still able to capture the more serious moments as well. When she confesses to Harriet, after revealing the truth about Mr. Elton, that she would be lucky to resemble Harriet in any small way, it’s very touching.

I also like all the attention that is given to Emma’s relationship with her father in this version. We see many small moments of the two of them together, with Emma fretting over her father’s scarf and worrying over the brewing conflict between him and John Knightley. I also really liked the way they dealt with the situation about their living arrangements after Emma and Mr. Knightley get engaged. It works both as a comedic scene, with Emma barging into Knightley’s office and declaring they can never marry and rushing out again, and as a serious one, as we can also see the true pain Emma is feeling about the prospect of hurting her father and her refusal to put him through that.

Heroes – “What are men to rocks and mountains?”

I absolutely love Jonny Lee Miller in most everything, and his take on Mr. Knightley is probably one of the strongest selling points for this version of the story for me. I really have zero criticisms for the way he portrays this character. In the book, Mr. Knightley really doesn’t have a lot to do in the first half of the story. He kind of pops in and out, has a big fight with Emma, and then disappears for a good bit until reappearing about halfway through the story. But this version makes good work of including him better in scenes and giving him more lines here and there to keep him ever present in viewers minds.

Miller has great delivery on some of the more comedic lines, like his and Emma’s teasing about the use of carriages. And, of course, he excels in the scenes in which he fights with Emma. This version’s fight over the Harriet/Mr. Martin situation is the most extended of all the versions, and it’s great watching them both shine. And then in the Miss Bates scolding, I love the way he delivers his lines, especially the “badly done.” You can see a marked difference in this fight versus the first. Miller’s able to add a new layer of disappointment and concern that speaks well to the character’s change in perspective to Emma.

I also liked all the scenes they include of Mr. Knightley walking about the countryside, playing in the snow with his nieces and nephews, etc. It’s a good highlight of the type of active, outdoorsman that he is presented as. This version also gives us personal insight into Mr. Knightley’s own thoughts. After the ball scene, we see him imaging Emma in his own home. It’s a good contrast to the two scenes we had before where Emma imagines Mr. Knightley married to Jane Fairfax. It’s great having both scenes with the different insights into their different thoughts and feelings.

The movie also includes several little scenes between Harriet and Mr. Knightley. We see them walking together, sitting next to each other, and talking privately. It all comes across in a very natural way, but then when Harriet brings up her hopes for the future, we, the audience, can see the groundwork lain. And it’s easier to understand Emma’s real concern that Harriet may be a true threat to Emma’s future happiness.

Villains – “I do not want people to be very agreeable, as it saves me the trouble of liking them a great deal.” 

The Frank Churchill of this version leans heavily in on the villainous side of the character. He takes every opportunity to criticize Jane behind her back, commenting to Emma about her hair being ugly and how unlovable a reserved person is. He seems to be criticizing her when he sidehandedly comments about the mistake he made in bring up Dr. Perry’s carriage plans when hardly anyone else knew about it. And the flirtation with Emma is at a peak. At the Box Hill party we see him making more snide comments to Jane, all while being completely overboard with his compliments to Emma, even laying on her lap at one point, a shocking level of familiarity at that time.

He also seems often poor tempered. Whining and complaining about his life to Emma during the strawberry picking, and then, again, being a poor tempered brat at Box Hill. The actor’s take on the character really works well with this interpretation of the character, as he has a bunch of perfect facial expressions that highlight how shallow and spoiled Frank can often be. All in all, it’s hard not to agree with Knightley’s assessment of the situation: that Jane could do much better.

There is an interesting added twist to his character in that we see early in the movie the scene where he is sent away from home after his mother dies. And then towards the end, we see him return to the same spot. It seems to be implying that he holds some bitterness towards his father for sending him away. But the movie just barely brushes on this angle, and even the interpretation I’m making from it is by no means super clear. It’s an odd little track that I wish they had either more fully committed to exploring, in context of the character traits Frank exhibits as an adult, or left out entirely. As it is, it’s a bit weak, and like I said, I don’t feel fully confident that I even understand fully what they were going for.

Romance – “A lady’s imagination is very rapid: it jumps from admiration to love, from love to matrimony in a moment.”

I really, really like what they do with the romance in this version. Like I pointed out in my review of the book, the romantic plotline isn’t really even hinted at until over halfway through the story. So if readers aren’t invested in Emma’s comedy and antics, it can be a bit of a letdown. And in a movie version of the story, it’s even harder to pull of this type of late-game introduction of a romantic storyline.  If not handled right, it can make the romance seen as an afterthought and not properly built to.

Here, however, by giving Mr. Knightley more to do and more lines, the movie is careful to lay a thorough groundwork for the romance throughout. There are at least two instances that I can think of specifically where the movie goes out of its way to show how Mr. Knightley’s actions are often motivated by his feelings for Emma. First, when John and Isabella are visiting and John begins to become snappish with Mr. Woodhouse, the camera cuts to Mr. Knightley’s face and we see him observing Emma becoming more and more distressed. Even though they are still fighting a bit over the Harriet/Mr. Martin thing, it’s clear that Mr. Knightley’ speaks up to redirect his brother in an effort to bring Emma more peace. And secondly, at the ball, we see Emma become increasingly upset as she dances nearby Harriet and witnesses the rudeness of Mr. Elton. Again, the camera cuts to Mr. Knightley and we see his face as he watches Emma becoming more and more upset before he steps forward to aide Harriet. Both of these are very small moments, but they are so important for constantly fixing audiences’ attention on the importance of Emma to Mr. Knightley. And in both instances, Emma expresses thanks for Mr. Knightley’s actions, either in a quiet smile towards him or directly spoken to him.

I also really like the way they film the proposal scene and the moments directly afterward. I would say I wish they had filmed it in a bit less of a sunny location as you can tell both actors are having to squint at each other while talking. But as for the added dialogue and the delivery of lines, I think it’s excellent. Miller has perfect delivery on the “If I loved you less, I could talk about it more” line. And I really liked the added lines they gave Emma for her response to his declaration. As the book doesn’t include these lines, all the movies have to make something up here, and I think they did very well.

I also like the scenes after, the quiet, intimate moments when the two are sitting on a private bench discussing when they realized they loved each other. It has a nice balance of romance and a continuation of the type of friendly teasing that will always be in their relationship. And, of course, we get to see them go on their honeymoon and go to the seaside. The movie does a good job of introducing this fact, that Emma has never been to the seaside, early in the movie and then touching on it here and there throughout. So it’s a neat little button on the movie to end with her and Knightley standing on a cliff side looking out over the ocean.

Comedy – “For what do we live, but to make sport for our neighbors, and laugh at them in our turn?”

Louise Dylan does a fantastic job as Harriet Smith. She perfectly captures the character’s simple beauty and charm, but also her lack of real depth. I love her facial expressions as she’s posing for her portrait and trying to secretly sneak Mr. Elton’s pencil. I also think one of the funniest lines in the entire movie is when she’s trying to work out Mr. Elton’s riddle and when asked by Emma to put the words “ship” and “court” together, she excitedly comes up with “Ship court!” Good stuff.

The Eltons are also always good for a laugh in more of a love-to-hate them sort of way. Mr. Elton’s exuberance early in the movie is overwhelming. And he’s at his peak at the Christmas party where he rudely snaps at one of the servants not to crush Emma’s coat. And then constantly bothers her with questions and, later, literally wedges himself in between her and another guest. You have to wonder if Emma was beginning to question whether Elton would even due for Harriet, let alone herself.

One of Mrs. Elton’s best moments is when she commenting about abhorring being over-trimmed while literally being covered with feathers and ruffles. The movie also does a great just with some quick cuts between characters when Emma is trying to plan the trip to Box Hill. We see how instantaneously Mrs. Elton dominates every social plan to make herself the center of attention. It’s also a nice little karma moment for viewers when we see Mr. Elton struggling to pull along the donkey that Mrs. Elton insisted on riding to strawberry picking. It’s completely ridiculous, but he literally yoked himself to this situation, so…

Fun facts – “Life seems but a quick succession of busy nothings.”

I remember hearing in some commentary or another that the stylists exaggerated Mr. Elton’s puffed up hair do more and more throughout the movie to signify is growing ego and ridiculousness.

Jonny Lee Miller and Blake Ritson (Mr. Elton) had both previously played the same Austen hero, Edmund Bertram, in two different adaptations of “Mansfield Park.” We should have seen them both in those first had I reviewed these in the right order, but alas. I bet everyone can guess who I thought did the character better…

There was a surprise spattering of snow outside the house that was staged as Hartfield one day.  And when the director was notified of it, they rushed cameras down, along with the signature swan that was often shown outside of the house, to capture the view for the winter scenes.

Christina Cole (Mrs. Elton) played Caroline Bingley in “Lost in Austen.” A pretty good fit, I’d say.

Emma is often shown at Hartfield wearing a small watch adornment attached to her dress. This was included to signify that she was the lady of the house.

Best Movie Gif/Meme: “I dearly love a laugh.”

Have I mentioned that I love Jonny Lee Miller’s version of this character? Even in small moments like this, when he’s being exasperated by Emma’s silliness:

And this movie has one of the best Austen dance scenes, as we get to see our two main characters dance together while clearly enjoying each other’s company. It’s also fun because Miller makes several awkward facial expressions throughout that show that he is becoming more and more aware of how in love with Emma he is, even though she’s still obviously clueless.

In two weeks, I’ll review a modern adaptation, “Clueless.”

My Year with Jane Austen – “Emma” [1996]

mv5bn2e1ytuzzdatodq2ys00mwnjlwezmzatzjgwy2m3ztcwotjhxkeyxkfqcgdeqxvynje5mjuyotm40._v1_uy268_cr00182268_al_Movie: “Emma”

Release Year: 1996

Actors: Emma – Gwyneth Paltrow

Mr. Knightley – Jeremy Northam

Harriet Smith – Toni Collette

Frank Churchill – Ewan McGregor

Comparison – “Indulge your imagination in every possible flight.”

This and the 1995 “Pride and Prejudice” were probably my earliest adaptations of Jane Austen books that I watched repeatedly. Since the release of the 2009 version of “Emma,” I’ve preferred that one, but much of that comes down to its longer length and my never-ending love for Johnny Lee Miller. I ultimately still enjoy this version and can appreciate Paltrow’s version of the main character.

The movie definitely stays more true to the book in the first half of the story, covering the Harriet/Elton/Emma love triangle pretty effectively. Once Frank Churchill and Jane Fairfax arrive on the scene, the story diverges more and leaves about a bunch of fairly critical information/scenes that really establish the situation going on there. While effectively changing the way that story line plays out and the fallout of that situation, overall, given the time restraints of this movie, things still seems to come together well enough. If you were going to cut back on a portion of the story, it makes sense that it would be that one. It really does take all of those extra scenes and little side comments from Frank Churchill to establish the full history of between him and Jane and why she would choose to pursue being a governess. There’s no way to really include all of that without either cutting back on Harriet’s story or cutting back on Knightley and Emma, which would be inexcusable.

The movie keeps a few important lines of dialogue, but definitely strays pretty far from adhering to close to the original. More often than not, it will cover similar scenes and topics of conversation but mildly tweak the actual dialogue itself. Most of this works well enough, though I didn’t care as much for this version of the final romantic exchange between Mr. Knightley and Emma. Instead, I appreciated more the added small jokes that the movie threw in between these two characters which I thought worked very well and highlighted the good chemistry between the two actors.

While I still prefer the 2009 version (it’s really just impossible to compete with a version that can devote literally two times more time to the story), I do like this adaptation overall. I don’t have any real complaints with Paltrow’s interpretation of the character or much of what is cut. I also think the music, costuming, and many of the outdoor sets are also excellent and tie well together with the overall tone of the movie.

Heroines – “I hate to hear you talk about all women as if they were fine ladies instead of rational creatures.”

Since this film’s release, Gwyneth Paltrow has developed a certain reputation that often plays against her. I’m not quibbling with that, as she has definitely said and done some things that deserve all the raised eyebrows. But as a performer, I’ve never had a problem with her. And in my opinion she’s pretty perfectly cast as Emma. Even the weirdness of the actress kind of makes sense for a character like Emma!

While she definitely plays Emma a bit more cool than some of the version we’ll see later on,  I do think that this interpretation is pretty close to the book’s description and to what one could expect of a lady of the time in her position. She’s polite and proper for the most part, but we do see small breaks that show that she’s still a flawed young woman: snapping a bit at Mr. Elton at the Christmas party, deferring performing at the party until Jane is suggested as an alternative, etc.

The movie also includes a bit of inner narration for the character which I think is an interesting and almost necessary aspect to really get at Emma’s inner thoughts and all the flaws in her own reasoning. To make up for where this tactic doesn’t work, the movie adds in more talks between Emma and Mrs. Weston that further elaborate. Emma confesses to Mrs. Weston the mess she made of the Elton/Harriet situation, swears off matchmaking, and then promptly begins wondering aloud who would be right for Harriet. She also confesses her realization about her own feelings for Mr. Knightley to Mrs. Weston later in the movie. Here, in something that I think is unique to this adaptation, we see Mrs. Weston give Emma instructions that exactly match what Emma had told Harriet to do with regards to Harriet’s love life earlier. It’s a nice touch that highlights just how much of Emma’s true wisdom came from Mrs. Weston originally, as we see in this later exchange that these instructions must have been things she had said before to Emma.

I also liked the way that Emma experiences the fall-out of her cruelty to Miss Bates. The event itself is made pretty heart-wrenching with Miss Bates commenting that she must be pretty intolerable for an old friend to say something like that. Mrs. Weston shoots her many disapproving looks. And, of course, the lecture from Mr. Knightley is harsh, and we see Emma immediately break down under the crushing disappointment of her friend. To make matters worse, in this version, Miss Bates refuses to see Emma the next day when Emma attempts to visit to make up for things.

I also really like Toni Collette’s version of Harriet. She’s immensely likable, and it’s impossible not to feel for her as she suffers from Emma’s nonsense. Another interesting change in her storyline is that Emma thinks up Harriet and Frank as a couple before the interaction with the gypsies. I’m not sure exactly why they changed this, as it seems much more random this way. Though we don’t hear any dialogue, I like that we see a small snippet of Emma having to confess to Harriet that she has yet again become the object of love of the man Harriet has been pining for. We see Harriet run from the room and it really help it hit home how hard this would have been for both Harriet and Emma.  To balance this out, I really like that we get an additional scene, later, where Harriet herself tells Emma about her new engagement to Robert Martin, and the two make up. It’s a bit more happy and seems to set up a future of friendship between the two than the more distanced ending in the book, but I don’t mind the change.

Heroes – “What are men to rocks and mountains?”

Jeremy Northam definitely brings his own take to the character of Mr. Knightley. I’m not sure how accurate I feel it is to the book version, however. Not that this is a huge complaint, as I think the version he brings works well with the overall tone of this movie. He’s much more teasing and laughing than the more generally serious Knightley we see in the book. The movie adds a number of additional quips and jokes between Emma and Knightley, and I think the chemistry between the two actors works well to establish this type of familiar, teasing friendship. Northam has a great way of laughing with his eyes whenever the camera cuts to him after one of Emma’s more silly moments. It’s a nice way of seeing him “in” on some of Emma’s plans that probably go unnoticed by most of the other people around them. Even their fight over Harriet and Robert Martin is more light-hearted than what we see in the book, with a few of the more heated exchanges getting broken up with humor.

The age difference thing was pretty weird, however. The movie goes out of its way to include a very specific line about how these two are 16 years apart in age, but this age discrepancy doesn’t hold true at all when actually looking at the characters involved. I’m not sure why they chose to even include this line as it wasn’t necessary in any way to the story they were telling and just threw me out of things since it seemed so glaringly inaccurate with the casting.

Villains – “I do not want people to be very agreeable, as it saves me the trouble of liking them a great deal.” 

I guess we’ll throw Frank Churchill in this section, though I think one of the bigger changes this movie makes is in really scaling back his storyline and making him much less “villainous” than he was in the book. For one, when he goes to confess to Emma in the first half of the movie, he ends up being interrupted and the way it is played makes it seem much more like he was actually planning on telling her the truth about him and Jane.

From there on out, he’s much less flirtatious with Emma than the version in the book. And he’s also much less cruel to Jane, both in secret jokes with Emma and in public. The Dixon joke goes nowhere, and we never see Emma and Frank put Jane on the spot over this. They don’t fight at the strawberry picking. Frank doesn’t flirt obnoxiously with Emma at Box Hill, instead spending his time distracting Mrs. Elton from her persistent haranguing of Jane about her future as a governess. And then due to all of this, Jane never takes the extreme step of actually reaching out to an employer and making plans for her future down that path. In the end, this leaves much of the harm from the Frank/Jane secret fairly toothless. Emma rants for a bit to Mrs. Weston about Frank’s being lucky that she wasn’t more attached, but from what we saw, Frank’s behavior to her wasn’t that extreme to begin with. All told, he gets off with much less criticism (particularly from Mr. Knightley) and behaves better here than he does in the book.

Ewan McGregor’s performance is solid, and he has a way of making his charm slightly sleazy at the same time, which immediately sets him apart from ever being considered a true love interest for Emma. He gets an opportunity to sing, as well, which is always a bonus!

Romance – “A lady’s imagination is very rapid: it jumps from admiration to love, from love to matrimony in a moment.”

The romance is nice enough in this movie. I think it plays second fiddle to much of the comedy, however. Even Emma and Mr. Knightley’s relationship plays better in their teasing friendship stage than the actual romance itself. There’s this weird running commentary of them being like brother and sister and then not actually brother and sister that I just found off-putting. I don’t need the mental image of them being like siblings ever introduced in the equation, even if they set it aside later. Just leave it be.

The dance scene is also a bit of a let-down. The dance they used in particular had Northam needing to prance about a bit more than is becoming. And the way it is filmed is never very intimate, undercutting what is usually one of the more romantic (or at least important) scenes in any Austen story. The camera stays at a distance for much of it, and while I get the symbolism of Knightley and Emma always coming together and then moving apart, it didn’t really hit home the way other dance scenes in other Austen adaptations have.

Lastly, the proposal/love confession scene at the end of the movie. I liked the awkwardness at the lead up and the way Emma shuts him down only to catch him back up and continue the conversation. The movie does include the pivotal “if I loved you less maybe I could about it more” line, but this is one of the few moments where Northam’s winking smile undercuts the sincerity of the line that makes it really hit home. They also had to add in more lines to make up for the fact that Austen never actually wrote a response for Emma. It’s ok, but I wouldn’t list this scene as the best original writing in the movie, which is too bad.

Comedy – “For what do we live, but to make sport for our neighbors, and laugh at them in our turn?”

Miss Bates is quite good in this version. She adds a few tics, like shouting random words at her elderly mother, and continuously interrupting herself to fetch napkins, that really work well. She doesn’t have tons of screen time, but she works well with what she has and sets the character up well enough that the viewer really feels the cruelty in Emma’s throwaway comment at her about talking too much.

Unfortunately, Mr. Woodhouse has even less screen time so much of his humor is drastically cut back. They still include the cake moment in the beginning of the movie, which is always funny. But for much of the rest of the movie he kind of fades into the background.

Instead, the Eltons, both Mr. and Mrs., really hold the spotlight on the comedy side of things. This version of Mr. Elton really leans in to the ridiculousness of the character. He’s not made out to be very handsome or charming at all, something that the character is noted as being in the book as Knightley comments that Elton won’t waste these advantages in marriage. One almost feels sorry for any potential future Harriet would have with this version of the character. His pestering of Emma at the Christmas party is quite funny. And his cruelty towards Harriet at the ball is equally harsh.

Mrs. Elton is pretty great all around. Her constant interrupting of Mr. Elton really cements the unfortunate future he has ahead of him with this woman he deemed better than the sweet Harriet. She doesn’t have tons of screen time, so we miss some of her good moments from the book, but the movie does what it can. Instead of having her lord her position as a new bride over the ball, the movie shows various characters spotting the Eltons coming and making quick escapes, another glance into the future these two have before them. She also gets the only break of the third wall in the entire film when she speaks directly to the camera/audience, criticizing Emma’s wedding for having a deplorable lack of satin.

Fun facts – “Life seems but a quick succession of busy nothings.”

The same dance used for Emma and Mr. Knightley is also used in the 1995 version of “Pride and Prejudice” for Mr. Darcy and Elizabeth. We see much less of it here, of course. I will say that I think it was much better suited for the latter film. The rather stuffy, overly regal tone of the dance fit better with Elizabeth’s perceptions of Darcy at the time. And the less intimate style of dance also suited the awkwardness of that situation for those two characters at that point in the story. In this story, the dance between Emma and Mr. Knightley should be one of the first overtly romantic moments we see. And, if nothing else, we should have a style of dance that highlights the close relationship these two already have, not something that distances them.

Mrs. Bates and Miss Bates are real life mother and daughter, though it was just chance that they were both cast. They are also mother and sister to Emma Thompson, so yet another Austen adaptation with some connection to that actress (the third)!

Ewan McGregor regretted being in this movie. It’s not super clear why, but he disliked his performance and noted that the atrocious wig was definitely not doing him any favors.

Best Movie Gif/Meme: “I dearly love a laugh.”

Mr. Knightley’s line here is “Try not to shoot my dogs.” This is part of the scene where they’re fighting over Harriet’s future and her turning down Robert Martin. It’s a nice example of the teasing approach to the character that Northam has.

In two weeks, I’ll review the 2009 version of “Emma”

My Year with Jane Austen: “Emma” Part II

6969Book: “Emma”

Publication Year: 1815

Book Description: Emma Woodhouse is one of Austen’s most captivating and vivid characters. Beautiful, spoilt, vain and irrepressibly witty, Emma organizes the lives of the inhabitants of her sleepy little village and plays matchmaker with devastating effect.

Note: Yes, this is out of order. I blame the quarantine and general craziness of watching over a one-year-old, but I finished reading “Emma” about a week or two ago, and only then realized that I had skipped “Mansfield Park.” I probably could have banged “Mansfield Park” out in this last week, but I didn’t want to rush my read of that rather hefty book. And then when I would finally get to “Emma,” around July, I’d be several months removed from my actual read through. So, I think this is better than doggedly sticking to my original order. It is what it is!

Part II – Volume 2, Chapters 11 – End

Story – “The person, be it gentleman or lady, who has not pleasure in a good novel, must be intolerably stupid.”

Frank Churchill is called back to his ill aunt, leaving the entire neighborhood bereft. Before he leaves, however, he visits Emma and seems to be on the cusp of some great confession. He doesn’t get it out, but Emma assumes it was a profession of love. She believes she must be in love, too; how could she not be?

Soon enough, however, a new distraction arrives in the return of Mr. Elton with a new bride. Mrs. Elton soon makes a poor impression on Emma, coming across as snobby, full-of-herself and, especially bad, overly familiar with Mr. Knightley, calling him “Knightley” after only one meeting. Mrs. Elton soon cools towards Emma, too, and between herself and Mr. Elton, the two become quite unpleasant neighbors, though Emma puts on a good face about it. For a new companion, Mrs. Elton takes Jane Fairfax under her wing, eagerly hoping to help with Jane’s need to look for a governess position soon. Jane attempts to dissuade her, but Mrs. Elton is persistent.

Frank’s aunt decides to take up residence much closer to Highbury, so he becomes a much more frequent visitor of the neighborhood. Emma finds, on his return, that she didn’t seem to miss him much at all and must not have really loved him. He, too, seems to be less in love, though the two still enjoy joking around with one another. Frank, Emma, and the Westons arrange to have a ball in the town center. It’s a fancy affair and everyone arrives decked out, though Frank comments negatively on Jane’s looks.

Early in the dance, while most people are paired up already, Mr. Elton rudely and publicly snubs Harriet who is still sitting alone without someone to dance with. Mr. Knightley arrives and asks her to dance, pleasing Emma to see her friend so happy. Later, she admits to Mr. Knightley that she was wrong about Mr. Elton, and Mr. Knightley concedes that Harriet has some first rate qualities that the new Mrs. Elton with without. The two dance together.

A while later, the neighborhood is thrown into confusion when Harriet and her friend are set upon by gypsies while walking. Frank arrives in the nick of time and whisks Harriet back to Hartfield. Emma believes she may see a spark between the two after this incident. Later, when she and Harriet are talking, Harriet confesses that she no longer plans to marry and Emma guesses to her that it may be because the man she prefers is so far above her. Harriet confesses that it is true. Emma reassures her that unequal marriages happen all the time and its no wonder Harriet fell for him after he rescued her like that. Harriet goes on about her feelings at the moment, though both she and Emma agree not to name the gentleman in question so there are no mistakes this time around.

As the summer progresses, there are many opportunities for the group to gather together. They all go to Mr. Knightley’s home one summer day do pick strawberries; even Mr. Woodhouse is convinced to come and Mr. Knightley makes great effort to make sure he is comfortable. Mrs. Elton continues to hound Jane about her future as a governess, and in a quiet moment, Emma catches Jane sneaking away. Jane begs her to let her go on her own and claims that she is emotionally exhausted. Emma helps her and worries about her health. Soon after Jane leaves, Frank Churchill arrives in a poor temper, saying his life is a series of frustrations and he will soon leave the country. Emma convinces him to come on a trip to Box Hill that they are all are taking.

The trip is immediately a poor affair. It is hot and everyone seems to be in bad moods. After wandering around, they all sit down for a picnic lunch though no one seems to talk much. Frank and Emma try to carry the conversation with Frank becoming more and more exuberant and ridiculous, prodding Emma that she must find him a wife who is just like her. Emma thinks of Harriet. Jane pipes up that it is hard to truly know someone on short acquaintances, and Frank seems put out. He insists everyone play a game in which they must say something clever, two things sort of clever, or three things dull indeed. Miss Bates says she will succeed easily as she always says dull things. Emma laughingly says that the struggle will be only saying three at one time. This hits with a thud. Everyone gradually wanders away. As Emma is walking, she is caught up by an angry Mr. Knightley. He berates her for being so cruel to Miss Bates and says it was badly done. Emma feels the truth of his words, but he walks away before she has time to apologize.

The next day, Emma gets up early to call on Miss Bates in an attempt to apologize and start to behave better by her. When she gets there, she meets with Miss Bates but Jane refuses to see her. Miss Bates says that Jane has accepted a governess position, taking them all by surprise, though Jane seems very sad about it. Upon returning home, Emma meets with Mr. Knightley who is just taking his leave. He is told about her trip to the Bates’ and seems to know what she was about. He says that he is leaving on a substantial trip to London. Emma is saddened to see him go.

Over the next few weeks, Emma tries to befriend Jane but is turned away at every attempt. Eventually, news comes that Frank’s aunt has passed away. Soon after, Emma is called to the Westons for urgent news. It turns out that Frank and Jane have been secretly engaged since before either of them came to Highury. Mrs. Weston is beside herself, worrying that Emma was in love with Frank and knowing that that is what she and her husband had been wanting. Emma is hurt and confused by Frank’s behavior, but reassures Mrs. Weston that she never loved Frank. She understands, now, why Jane avoided her, however, seeing as Frank flirted with her constantly in front of Jane.

Emma goes to Harriet, feeling the awful weight of having to deliver the bad news once again that the man Harriet loves is with someone else. But Harriet seems unaffected! Emma soon learns that she was again, mistaken: Harriet never meant Frank Churhill when she spoke of being in love, she meant Mr. Knightly. They go over all the details of their confusion, and Emma sees how she, again, misinterpreted things. Harriet feels confident that Mr. Knightley returns her affections and Emma admits that he is the last man who would ever intentionally lead someone on. The entire affair makes one thing blatantly clear: she, Emma Woodhouse, is in love with Mr. Knightley.

Wretched, Emma returns home. A few days later, Mr. Knightley arrives at Hartfield. He and Emma walk about the house and Mr. Knightley hurries to reassure Emma that Frank is a scoundrel who never deserved her. Emma confesses that while Frank did use her to continue his scheme of hiding his relationship with Jane, she was never in love with him. Mr. Knightley says that he is jealous of Frank in a way, that Frank’s secret is known. Emma cuts him off quickly, not wanting to hear his confession of love for Harriet. Shortly after, however, she feels what she has done and rushes to tell Mr. Knightley that he can say anything to her, as her friend. Mr. Knightley says he doesn’t want to be just friends and asks if he has a chance with her? Emma realizes that she was mistaken once again, and the two confess their love for each other.

Eventually all is settled. Harriet, again heart broken, manages to find love for a third time with Mr. Martin and the two are married. Mr. Knightley, knowing Emma cannot leave her father who depends on her so much, decides to move into Hartfield after they marry. John and Isabella come to stay with Mr. Woodhouse and give Emma and Mr. Knightley the chance to go on a honeymoon to the seaside.

Heroines – “I hate to hear you talk about all women as if they were fine ladies instead of rational creatures.”

I think what really sells Emma to the most readers, something that Austen didn’t put enough stock into when she worried people wouldn’t like her heroine, is just how much page time is devoted to her feelings of regret, sorrow, and duty. She makes mistakes, huge ones and small, but it can be argued that she pays equally high prices for those mistakes.

In her misleading of Harriet, she ends up in a situation where Harriet sees a future for herself with the very man Emma now knows she loves. And the book spends pages really exploring how Emma realizes all of the little mistakes and steps that she took that lead to this situation. But on top of her regrets, there are even better small moments, like a line detailing Emma’s inner thoughts about how she had no right to crush or criticize Harriet’s dreams of a life with Mr. Knightley. Emma recognizes that it was she who formed this friendship with Harriet, she who encouraged attachment and the trust Harriet now puts in her sharing these deep secrets. Emma has no right to smack her down, and so she stays quiet and says what needs to be said: that she will support Harriet and that Mr. Knightley would never lead any woman on.

We also see Emma pay the price of her foolishness with Frank Churchhil. Delayed, yes, but she does try to form a friendship with Jane and gets no where. Once the truth comes out, she sees the part she played in Jane’s ongoing torment and deeply regrets her behavior. She admits to Mr. Knightley that it is her own behavior more than anything that pains her when she thinks back on that entire situation.

And, of course, the Miss Bates situation. Unlike Mr. Knightley, we see how immediate is Emma’s reaction to his words. She not only recognizes how right he is in this situation but sees how easily she has given way to selfish neglect of Miss Bates in the past. The scene where Emma visits Miss Bates the next morning is awkward and uncomfortable, but we see a reformed Emma who is willing to pay that price to begin again on the right foot.

Beyond all of these moments where we see Emma confront her own inner demons, there is plenty of opportunity given throughout the series to appreciate her innate good qualities. Any and every interaction between Emma and her father shows just how good-hearted Emma can be. She does sacrifice much of the independence and fun that many young women in her position would crave to make sure her father is comfortable and happy. She recognizes her own power in his life, either as a force of good or evil. And she always chooses the good, arranging his evenings to be quiet and comfortable and not pushing him too much as far as her own social plans go. And, obviously, in the end we see just how far she is willing to take this. She fully expects to only be engaged to Mr. Knightley for many years. It never crosses her mind to leave her father, and instead she is ready to put off the biggest happiness of her life, marriage to her true love, in an effort to keep him happy and comfortable while he lives.

Heroes – “What are men to rocks and mountains?”

We see a lot more of Mr. Knightley in general in this second half. And not only does it feel like he’s around more often, but he has some pretty great moments. Rescuing Harriet at the ball, of course, serves as a pretty major lynchpin in the following romantic confusion. He has some excellent lines with regards to Mrs. Elton, effectively putting her in her place when he refuses to let her invite whomever she wants to his house for strawberry picking, noting that only “Mrs. Knightley” will have the privilege of doing that. And he’s the only one to pick up on the weirdness between Frank Churchill and Jane. He even goes so far as to warn Emma about what he suspects, though she laughs him off. You’d think that after admitting to Mr. Knightley himself that he saw things in Mr. Elton that she didn’t, she might be more open to his maybe cluing in on things she isn’t. But, again, she really has no reason to suspect anything like this, what with Frank’s unnecessarily rude comments about Jane’s hair and such.

The only thing he gets wrong is Emma’s regard for Frank, and you can hardly blame him for that given the two of them and their behavior. But it’s funny to see how much of Mr. Knightley’s opinion of Frank depends on Emma’s opinion of Frank:

He found [Emma] agitated and low. – Frank Churchill was a villain.- He hear her to declare that she had never loved him. Frank Churchill’s character was not desperate. – She was his own Emma, by hand and word, when they returned to the house; and if he could have thought of Frank Churchill them, hi might have deemed him a very good sort of fellow.

Villains – “I do not want people to be very agreeable, as it saves me the trouble of liking them a great deal.” 

Frank Churchill is the closest thing to a villain in this second half of the story. As Mr. Knightley rightly points out, he treats everyone poorly and then everyone is eager to forgive and forget. He is lucky that Emma didn’t fall in love with him, what with his constant flirtations. And for what? He by no means needed to have another object of interest to deflect attention from his engagement to Jane. It’s pretty clear that no one would have put those pieces together (except, obviously, Mr. Knightley).

What’s more, we’re meant to think that he truly loves Jane. And yet, he continually goes out of his way to hurt her by his behavior. Some of it to her face and some of it behind. Talking badly about her appearance to Emma? Why?? For no obvious reason other than his poor character. And then, again, flirting continuously with Emma. He’s at his worst at the picnic at Box Hill, but it’s pretty bad the entire time. Getting Emma to tease Jane alongside him and everything. He really doesn’t deserve Jane, who, other than the questionable decision of being in a secret engagement, really does seem like a nice woman. All of it throws back to Mr. Knightley’s original assessment of Frank: that any man who knows what is right but chooses not to do it is not a man to be admired. Mr. Knightley says this in context of Frank not visiting the new Mrs. Weston, but it applies here, too. Of the two, Jane is the one who suffers more for their secret engagement. And at least half of her torment is due to Frank’s own, intentional behavior. It’s no way to treat someone you claim to love.

Even in the end, with his apologies to Emma, it seems clear that Frank is only half-heartedly feeling the true weight of his poor behavior. He’s still quick with a joke and seems barely able to remain serious long enough to get the basic words out.

Romance – “A lady’s imagination is very rapid: it jumps from admiration to love, from love to matrimony in a moment.

I have a note in my Kindle that flags the first real signs of romance in this book, and it comes about two thirds into the story in the second chapter of the third volume. It’s certainly another example of how “Emma” differentiates itself from Austen’s prior novels. Emma herself, as we’ve discussed, is very different than the other heroines. And here we see how much of a back burner the romance plays in this story to the comedy itself. Of course, once it comes it’s immensely gratifying, but again…two thirds of the way through. And even then, it’s Emma admiring Mr. Knightley’s fine figure at the ball and still placing him right aside Frank Churchill as being uncomparable in the room.

It’s kind of an odd thing, but having talked to many “Emma” fans, both of the book and of the various film adaptations, two scenes often stand out between Emma and Mr. Knightley and they both involve the two fighting. Or at the very least, Mr. Knightley scolding Emma. The first, of course, is the fight over Harriet’s future in the first half. And the second is Mr. Knightley’s lecture to Emma about her bad behavior at Box Hill. Let these instance note that for centuries now, people have found romance in this kind of “enemies to lovers” story. Obviously, Mr. Knightley is never Emma’s enemy, but why do people always comment on his “badly done, Emma” as such a notable, almost romantic line? It’s an interesting thing, I’ll say that.

Readers are too sauvy to ever buy into the whole Mr. Knightley/Harriet thing like Emma does. But Austen does do a good amount of work to lay groundwork for why Harriet might think what she does. And really, the entire reason she thinks these things is due to Emma herself. Not only the obvious line about unequal marriages, but the entire way she essentially trained Harriet to look for romance. During the Elton situation, Emma raised even the smallest interaction to heights of importance that of course Harriet would adapt this same method for evaluating all men’s actions. Simple conversations suddenly mean interest. Small moments of kindness mean true love. This all goes to say, that Emma is right when she says she only has herself to blame for the Harriet situation, even if she was more hands off in this second round.

But, of course, it all turns out well. The scene between Mr. Knightley and Emma is everything one could want. We see personal growth on Emma’s side when she catches herself being selfish and turning away from hearing Mr. Knightley. We see how long Mr. Knightley has struggled against his feelings for Emma, going back to the very beginning of the book when he was criticizing Emma, even if he wasn’t aware of it at the time. And we see Emma finally be wrong for one last time, but in the best way possible.

And, ultimately, I don’t think there’s another Austen hero that pulls off as romantic a gesture as Knightley does here. Moving in to Emma’s house for her. Giving up large portions of his own independence, something he has had probably for the last 18 years of life. Now, to live in another man’s house and a man who is by no means the easiest person to live with. And all for Emma. I mean, Darcy’s got some moves, but in all practical senses, I think Mr. Knightley has him beat with this one.

Comedy – “For what do we live, but to make sport for our neighbors, and laugh at them in our turn?”

Mrs. Elton could also be in the villains category, such as it is. But I think she fits better in comedy in that she really has very little power to inflict real harm on people, unlike Frank Churchill. Instead, her jabs and barbs are more of a nuisance to most than any real threat. Emma, herself, feels very little other than annoyance that Mrs. Elton doesn’t like her. And it seems that by the end of the book, that even Mrs. Elton herself sees the writing on the wall with regards to her dwindling power over those around her. Mr. Knightley proves he won’t be bullied by her on his own, and the combined forces of the Knightleys and Woodhouses once they are married will be more than enough to quell any further major maneuverings by Mrs. Elton.

Because Emma is so secure from Mrs. Elton’s attempts to make her unhappy, Mrs. Elton instead comes off as the kind of non-threatening character who is made all the more fun for being so unlikable. One does feel bad for poor Jane, and it does serve as another example of Emma’s failings in that respect. But Mrs. Elton on a whole is pretty funny. All of her fancy-schmancy mannerisms, her false humility, her assurance that she is the most fashionable, the most influential. Good stuff.

Favorite quotes – “What did she say? Just what she ought, of course. A lady always does.”

The classic favorite line, of course. But I think this is also proof that besides the fact that she wrote romances, Austen seemed to struggle the most writing the actual romantic dialogue. There’s really very little in many of the books, if you actually look for spoken lines specifically.

“If I loved you less, I might be able to talk about it more.”

Emma is redeemed largely by how much time Austen devoted to her really feeling the weight of her actions, both in the Miss Bates situation and with Harriet’s love for Mr. Knightley.

With insufferable vanity had she believed herself in the secret of every body’s feelings; with unpardonable arrogance proposed to arrange every body’s destiny. She was proved to have been universally mistaken; and she had not quite done nothing – for she had done mischief. She had brought evil on Harriet, on herself, and she too much feared, on Mr. Knightley.

And a small line, but one that I found extremely funny this read through:

Mr. Knightley seemed to be trying not to smile; and succeeded without difficulty, upon Mrs. Elton’s beginning to talk to him.

Final thoughts – “I declare after all there is no enjoyment like reading!”

I’ve always loved “Emma.” Perhaps less romantic than some of the others, I think the balance of comedy and romance plays perfectly. The fact that Emma has more to her life than her love interest (in fact, he’s a literal afterthought!) is a perk for modern audiences. And I think the personal growth she experiences and her original flaws make her all the more relatable to many readers.

While Mr. Knightley is by no means the most overtly romantic of Austen’s heroes (Darcy has the brooding and grand gestures, Captain Wentworth has that letter), he’s the kind of romantic lead that always appeals to me. I always love the friends-to-lovers storyline, and he has the rare ability to somehow make lecturing sexy.

There are also very few “villainous” characters in this story. The Eltons are more just nonsensical than anything, and Frank Churchill’s wrongs are quickly gotten over, for better or worse. As I’ve discussed previously, Emma herself causes the most actual harm to poor Harriet. Harriet not only loses a year of a presumably happy life as Robert Martin’s wife, but also spends much of that year caught up in foolish ploys followed by crushing disappointments. The fact that their friendship wanes in the end of the book is definitely best for both of them. And while Mr. Knightley may not have been completely wrong when he said they’d both do each other harm, he wasn’t far off base either.

I’m excited to get into the movie adaptations of this movie. From my general memory, “Emma” is the book that has the most versions that I generally liked. So we’ll see if that holds true in the coming weeks!

In two weeks, I’ll review the 1996 version of “Emma.” 

My Year with Jane Austen: “Emma” Part I

6969Book: “Emma”

Publication Year: 1815

Book Description: Emma Woodhouse is one of Austen’s most captivating and vivid characters. Beautiful, spoilt, vain and irrepressibly witty, Emma organizes the lives of the inhabitants of her sleepy little village and plays matchmaker with devastating effect.

Note: Yes, this is out of order. I blame the quarantine and general craziness of watching over a one-year-old, but I finished reading “Emma” about a week or two ago, and only then realized that I had skipped “Mansfield Park.” I probably could have banged “Mansfield Park” out in this last week, but I didn’t want to rush my read of that rather hefty book. And then when I would finally get to “Emma,” around July, I’d be several months removed from my actual read through. So, I think this is better than doggedly sticking to my original order. It is what it is!

History – “I read it a little as duty, but it tells me nothing that does not either vex or weary me.”

Jane Austen wrote “Emma” between early 1814 and the spring of 1815. Once she was ready to publish, she decided to switch publishers and went with the well-known London publisher, John Murray. It is thought that she hoped to get a better copyright deal with this publisher and had been put off her previous editor after he refused to publish a second run of “Mansfield Park.” After originally being offered a fixed copyright price for “Emma, “Mansfield Park,” and “Sense and Sensibility,” Austen opted to go with a commission option instead for both, taking on printing and advertising prices. “Emma” had an original first-run of 2,000 copies, Austen’s largest first-run to date.

The book also included dedicated to the Prince of Wales. A fan of her previous books, her identity had been made know to the Prince Regent and his librarian dropped the not-so-subtle comment that she was free to dedicate any future books to him, a hint Austen didn’t feel she could ignore even though she didn’t personally care for Prince Regent

The book was met with middling success at the time, but has grown to be one of her most popular titles with modern audiences. And, despite the author’s fear that readers would not like Emma herself, many fans have connected strongly with the character, faults and all.  (source)

“I am going to take a heroine whom no one but myself will much like.” – Jane Austen

Part I – Volume 1, Chapter 1 – Volume 2, Chapters 11

Story – “The person, be it gentleman or lady, who has not pleasure in a good novel, must be intolerably stupid.”

Emma Woodhouse is the wealthy second daughter of the eccentric Mr. Woodhouse. Her family and their good family friend, Mr. Knightley, share the role as the most prominent families in their small community. A new family group is about to come on the scene, however, with the marriage of Emma’s good friend and former governess to Mr. Weston. Though sad to see her friend go, Emma takes credit for the match herself. Mr. Knightley scoffs at this idea, but Emma is sure of her own abilities.

The marriage also brings up a new topic of gossip, that Mr. Weston’s son, a young man who grew up with his aunt after the death of Mr. Weston’s first wife when the son was young, will likely have to come to visit finally. Mr. Frank Churchill has been long looked for, but due to the sickly and ill-spirited nature of his guardian aunt, he’s never actually visited his original home. But it comes to nothing, and he doesn’t come. Mr. Knightly is the only one to raise an eyebrow at what he sees as poor behavior of an independent man who must know what is due his father on the occasion of a wedding.

To make up for the loss of Mrs. Weston’s daily presence, Emma makes a friend of Harriet Smith, a young boarder at a nearby school. Her parentage is not known, but Emma sees her as a great project. She is dismayed, however, to find that Harriet has already formed a connection with a local farmer family, the Martins, and in particular with the son, Mr. Martin. To ward off the evil of Harriet marrying below what Emma has in mind for her, Emma sets her eyes on Mr. Eldon, the local parson as a better marriage option for Harriet.

Soon enough, however, it comes to a head when Harriet shows Emma a letter from Mr. Martin in which he asks her to marry him. Emma deftly maneuvers Harriet to what she deems the appropriate response: a resounding no. When Mr. Knightly hears of this, he is appalled and he and Emma fight. He says that she is playing with people like they are dolls and that Harriet had a happy future ahead of her with Mr. Martin. Now, Mr. Knightley worries she will look too high and be disappointed by the lack of men who will want to risk a marriage with a girl whose family is unknown. Emma counters that Harriet is beautiful and pleasant, two qualities that are the most important to men, seemingly. And that since Harriet associates with gentleman’s daughters, it is only right to assume that Harriet is a gentleman’s daughter as well. Mr. Knightley also warns that if Emma is thinking of Mr. Elton instead, he’s not all that and it will come to nothing. The two part in unhappy spirits.

Over the next several months, Emma makes great work to throw Mr. Elton and Harriet together, thinking she sees many signs of attachment. He praises, almost to a ridiculous degree, a painting that Emma does of Harriet. And later contributes a riddle to Harriet and Emma’s collection of romantic ditties. The riddle itself makes out the word “courtship,” and though Emma is confused by his references to Harriet’s “ready wit,” she still sees this as a good sign.

Around Christmas, Emma’s older sister and her family, who is married to Mr. Knightley’s younger brother and lives in London, come to visit. They entire group is invited to a party at the Weston’s; Mr. Elton and Harriet are invited, as well. Harriet, however, comes down with a bad cold and has to miss the party. On delivering the news to Mr. Elton, Emma is confused by his seeming lack of real concern for her friend. John Knightley, on seeing the exchange, warns Emma that Mr. Elton seems particularly interested in her. Emma scoffs at the idea. But at the party itself, where Mr. Elton makes a nuisance of himself trying to ingratiate himself with her, Emma is forced to begin to worry about her plans for him and Harriet.

She ends up in a carriage alone with him on the ride home, and her entire plan crashes down around her when he proposes to her. She is appalled, but soon learns that all of the signs she had thought were directed to Harriet were instead meant for her. Worse, Elton reveals himself as an arrogant, rather scheming man who looks down on Harriet for being too much below him but doesn’t seem to equate the situation with himself and Emma, an equally un-equal match. Emma sees it for what it is: he’s only in love enough to see the his gains in a marriage with her. She turns in down soundly. The next day she learns that he has left Highbury, and Emma has to break the terrible news to Harriet.

Around this time, Highbury gains a new person in the form of Jane Fairfax, the niece of Mrs. and Miss Bates. While Miss Bates is rather silly and prone to talking excessively, Emma knows it is her duty to call on Jane. She finds Jane to be too reserved to appeal as a potential close friend and is content not putting much effort into the relationship. Shortly after, Mr. Churchill finally arrives on the scene and Emma is much more struck by his charming, open disposition. The two quickly form a friendship, and it is clear the Westons would like nothing more than an even greater attachment in the future.

As they all circulate within each others’ circles and through various dinners and parties, Emma and Mr. Churchill find great amusement in coming up with scandalous histories for Jane Fairfax that would explain her shutting herself up with her less appealing relatives. Jane receives a piano as gift from an anonymous giver and this only adds to Emma and Mr. Churchill’s fun, trying to guess who would have given her such a great gift. Mrs. Weston suspects Mr. Knightley, but Emma laughs at this and says Mr. Knightley would never do anything in secret.

Heroines – “I hate to hear you talk about all women as if they were fine ladies instead of rational creatures.”

It is easy for readers to understand why Austen was worried fans might not connect with her character. For one thing, Emma is anything but an underdog, very unlike previous Austen heroines. She is wealthy, charming, beautiful, and has no material concerns before her, with a future secured by an independent income and a beloved place in a loving family and happy neighborhood where she is highly esteemed. What she says to Harriet, that a lack of income is all that makes spinsterhood so abhorrent, isn’t quite true in that she is underselling many of the other privileges that make up her existence. On top of that income, she has friends in Mr. Knightley and Mrs. Weston. She is highly valued as a connection to the general public of Highbury. And, of course, she is loved above anything by her father. Compared to Austen’s other heroines so far who have all been held back by finances to some extent, and by family members in other ways, Emma is sitting pretty.

But it’s also easy to see how this very distinction is one of the things that makes Emma such a popular character to modern audiences. Marriage is by no means the goal and, in many ways, Emma herself sees it as more a hindrance than anything. Instead, she’s fully independent and takes joy in the various roles she plays in her community. Her love story is purely based on the joys of a long friendship discovered to be more with no aspects of gratitude, luck, or necessity sprinkled on top to lessen the romance for modern readers who like their love stories to be “pure” like this. Even “Pride and Prejudice,” the most romantic of the previous three books, has a few pretty straightforward lines about Elizabeth feeling a lot of gratitude towards Darcy for taking any interest in her. Joined with the rest of the romance, this is fine. But to modern audiences, again, there is something appealing about Emma’s story having zero strings attached to it other than mutual affection and love. Neither Knightly or Emma need the other, and it is easy enough to see them living out the rest of their lives single and happy.

The other obvious turn-off is Emma’s meddling, the main focus of the entire story. But I think Austen under-estimated how many good qualities Emma has and how much they balance out much of her nonsense. Beyond which, I think many readers like their main characters to have flaws that they overcome throughout the story. Elizabeth Bennet, the other most beloved Austen heroine, definitely has a story arc that involves her overcoming a personal shortcoming. Emma’s flaw hurts more people than Elizabeth’s, however. But like I said, we see important moments that help counterbalance this. Particularly in the way she truly loves and cares for her father, putting forth a lot of effort to fill his days with activities and people he enjoys and attempting to keep family gatherings cordial and not upsetting for him. We also see enough of Mr. Knightley and Mrs. Weston to know they are sensible, kind people and that if they can vouch for Emma’s worth as a friend, there is more to her than the blatant meddling we also see.

This first half, of course, sees Emma commit probably her biggest sin: persuading Harriet to turn down Robert Martin. Beyond that, we see the pain that is caused by her major error with Mr. Elton and the lasting hurt it inflicts on Harriet who falls into a fairly deep depression for several months over his “loss.” But we also spend a lot of time in Emma’s head and do see that she is genuinely distressed over the way this situation unfolds. If still not distressed enough not continue in her ways to some extent throughout the rest of the book.

Heroes – “What are men to rocks and mountains?”

I love Mr. Knightley; he’s one of my favorite Austen heroes. But, I’ll be honest and say that after watching the 2009 “Emma” with Johnny Lee Miller as Mr. Knightley, I have a very hard time not simply picturing him and his performance for all of the Knightley portions. But beyond that, I do always like romantic heroes like his character, those who are stable, reliable, and always there for the heroine, even when she doesn’t know she needs him.

There are none of the dramatics of Mr. Darcy, and none of the indecisive weirdness of feelings for other women, like Edward Ferrars or Edmund. (Technically, I should have read “Mansfield Park” before this, so Edmund gets thrown in the list of Austen heroes who came before Knightley, even if we haven’t covered him in this reread, yet.) No, Mr. Knightley is that long friend of Emma’s who has always been there. He clearly cares about her welfare, worrying to Mrs. Weston about Emma’s friendships and future. And he understands her family, seeming to be pleased to spend quiet evenings at her home with her and her father.

He also is completely spot-on with his views on people. Unlike Emma, we’ll see in the second half that Mr. Knightley is the true match-spotter in the neighborhood when he catches on to the Jane/Frank thing before anyone. But in this half, we see that he values hard-workers like Mr. Martin and sees him as a good match for Harriet. Unlike Emma, Knightley is aware of the precarious situation that Harriet is in and sees all the good in her marrying Mr. Martin. He also is spot-on with his estimation of Mr. Elton, a fact that Emma herself will have to admit to later on in the book.

We also see Mr. Knightley make an effort to befriend and care for Jane, understanding the strains that must be on her living 24/7 in the Bates’ house. He is empathetic and kind, sending his carriage to bring that household to local parties when he knows they’d have to walk anyways. Emma sees all of this and appreciates it in the sense that “of course, that’s what he’d do!” but doesn’t really stop to think how rare of qualities all of these are and how much they should not be taken for granted.

Villains – “I do not want people to be very agreeable, as it saves me the trouble of liking them a great deal.” 

In many ways, Emma herself is the biggest villain in this first half. We see the entire arc of Harriet’s tragic love story play out, all at the hands of Emma. And while we do believe that she was honestly confused by Mr. Elton’s behavior, truly thought she was doing right by Harriet, and felt terribly once the truth came out, there’s no denying the real harm done here. We know how it turns out for Harriet in the end, but things could have went a very different way and followed the dark path Mr. Knightley laid out in which Harriet ends up at the boarding house forever, a spinster living her days at the mercy of others. Turning down the genuinely nice-sound Mr. Martin could have had lasting consequences, and it is clear that, coming form her own privileged position, Emma has not thought about these dangers to her friend whatsoever.

Further, Harriet suffers for quite some time after the loss of Mr. Elton. We know enough about her character to see that she doesn’t have the same resources of self that Emma has, and therefore it is very difficult for her to move past the depression of finding herself not preferred by Mr. Elton. Emma had her fully convinced of a happy future with him, and its loss is felt wholly by poor Harriet.

The other main villain would be Mr. Elton himself at this point. Villain is probably too strong of a word for him, but he still fits best in this category. As readers, we take more heed of Mr. Knightley’s warning about Mr. Elton and his search for a wealthy wife, so it’s less of a surprise when he fully exposes himself. It’s also easier to see how ridiculous and over-the-top Mr. Elton is from the very start. To her credit, Emma sees much of this too, but figures that he’s just so in love with Harriet that his senses aren’t quite right. She’s even more horrified when she realizes that these obnoxious flirtations had been meant to attract her, not Harriet. And, of course, Mr. Elton doesn’t make himself look very good in proposal scene itself. He’s cruel to Harriet and clearly not really in love with Emma at all. Again, knowing how it turns out, and with future Mr. Knightley’s words in our heads, that “Emma chose better for [Elton] than he did for himself,” we know that Mr. Elton will create a punishment of his own by marrying the obnoxious Mrs. Elton.

Romance – “A lady’s imagination is very rapid: it jumps from admiration to love, from love to matrimony in a moment.

Other than poor Harriet’s tragedies, there is really no romance in this first half. Knowing the outcome and knowing the secret hearts of characters who aren’t even aware of themselves, it’s easy enough to see romantic tension between Emma and Mr. Knightley, but there really isn’t anything on the page itself to justify it. There fight is the sort that could be had between any good friends, and the compliments that Mr. Knightley pays Emma when speaking to Mrs. Weston about his concerns about Emma and Harriet’s friendship are, again, of the sort that don’t really raise eyebrows. Mrs. Weston herself doesn’t bat an eyelash at it.

There are other small indicators here and there for Mr. Knightley’s attachment. His dislike of Frank Churchill from the very start is a pretty clear sign, before Frank is even on the scene in person. But, at the same time, Mr. Knightley seems to also be the only one objectively seeing some of the fairly questionable missteps in Frank’s behavior, all the way from the start when Frank failed to visit the new Mrs. Weston. So, it’s kind of half and half to see his dislike as motivated by the knowledge that many people are matchmaking Emma and Frank in their heads or to see it as just another example of Mr. Knightley’s good sense about people and their behavior.

One small moment that stood out was when many of the main characters are gathered at the Bates’ to view Jane’s new piano. Miss Bates sees Knightley riding by and asks him up. Once he hears that Emma is there, he seems to be about to come up, but makes a quick about-face when he hears that Frank is also there. Emma is the temptation, but Frank is the deterrent, especially when Frank is around Emma herself.

Comedy – “For what do we live, but to make sport for our neighbors, and laugh at them in our turn?”

Mr. Woodhouse is just the kind of lovable fool that Austen does best. His concerns and worries about health add the perfect levity needed to some of Emma’s more serious failings. Not to mention, he’s a main source of good in showing Emma’s loving side. There are bunch of small lines thrown in here and there about some of his worries: his concern about the cake at the wedding and dismay at the doctor’s children eating much of it, his worry about the hassle of his driver having to get a carriage ready for this and that small trip, endless frets about the temperature. As a reader, it’s very amusing. But we also see how it could be trying for family members, especially in-laws. During their visit, we see that Emma’s brother-in-law, John Knightley often struggles to deal with Mr. Woodhouse’s eccentricities. Mr. Woodhouse is clearly not aware of how intrusive some of his “concerns” can be into the choices of another person’s family. But we also get to see a lovely example of Emma and Mr. Knightley working in tandem to keep their respective family members polite and to avoid familial conflict.

The other main source of comedy comes from Miss Bates. Austen doesn’t hesitate to devote paragraphs and paragraphs to the dialogue for this character so that readers can truly understand what it would be like to be the listening party, trapped in a one-sided “conversation” with Miss Bates. She’s clearly well-meaning, but man, it can be exhausting just reading her unfiltered, scattered speeches. While Emma clearly over-steps later in the book and could do better in general with regards to Miss Bates, it’s also easy enough to sympathize with her desire to avoid getting trapped in long visits with Miss Bates.

Favorite quotes – “What did she say? Just what she ought, of course. A lady always does.”

Mrs. Goddard was the mistress of a School – not of a seminary, or an establishment, or anything which professed, in long sentences of refined nonsense, to combine liberal acquirements with elegant morality, upon new principles and new systems.

This quote stood out to me as yet another example of Austen’s wit striking on aspects of life that still hold true today. Having worked for many years in academia, the line about “refined nonsense” in the way that colleges and universities try to sell themselves is spot on.

“And till it appears that men are much more philosophic on the subject of beauty than they are generally supposed; till they do fall in love with well informed minds instead of handsome faces, a girl, with such loveliness as Harriet, has a certainty of being admired and sought after…”

While wrong overall, Emma does makes some good points in her argument with Mr. Knightley about Harriet’s future prospects. This then leads, of course, to a general favorite quote when Mr. Knightley comments that it might be better to be without wits than misapply them as Emma does here.

“I lay it down as a general rule, Harriet, that if a woman doubts as to whether she should accept a man or not, she certainly ought to refuse him.”

Again, this is a rather wise line being used in service of a poor scheme overall on Emma’s part. And I think there is a bunch of wiggle room to be made with the word “doubt.” But, in general, if there are doubts, that at least is a sign that more thought needs to be given before the “yes.”

In two weeks, I’ll review the last half of “Emma” and share my final thoughts on the book as a whole.

My Year with Jane Austen: “The Lizzie Bennet Diaries” [2012]

mv5bmtg1otk0mzg4nf5bml5banbnxkftztcwotm3mtm5oq4040._v1_ux182_cr00182268_al_Web Series: “The Lizzie Bennet Diaries”

Release Year: 2012

Actors: Lizzie Bennet – Ashley Clements

William Darcy – Daniel Vincent Gordh

Jane Bennet – Laura Spencer

Lydia Bennet – Mary Kate Wiles

Comparison – “Indulge your imagination in every possible flight.”

I watched this for the first time a few years ago. It had been out for a while as “Emma Approved” was also up and concluded. I remember flying through both series pretty quickly and enjoying the heck out of them (and, for the first time, being really annoyed by all the YouTube ads that were breaking up my experience). So, to get a wide range of examples of Jane Austen adaptations, I wanted to include both of these web series in this year’s project.

Sadly, it doesn’t quite hold up as much a second time around. This isn’t a mark against it overall, just that I think it’s the kind of thing that is more of an “experience” watching the first time and less enjoyable the second go around where the limitations of the format begin to glare more when the novelty has worn off. But I’ll start with a few of the positive things that stood out this go-around.

First, I think the series is very creative, especially with the way it changed certain aspects of the original story to fit a modern setting. Woes about family finances become more grounded in talks about second mortgages. Different approaches to marriage become different approaches to career paths. Pemberley becomes Darcy’s media company and Catherine DeBourgh becomes a venture capitalist who is funding Mr. Collins’s own media enterprise. Lydia is a party girl and Wickham is a dumb jock. Even small things like changing Mr. Bingley’s name to Bing Lee are creative as heck. I have to imagine it was really fun writing this series.

Also, for the most part, all of the actors are well-cast and, while clearly distinctive from their book counterparts, they all fit well with the same basic personalities and storylines from the original. I’ll obviously talk about some of the big players later, but I’ll just add here that I particularly liked this version of Charlotte (the hilarious and practical behind-the-scenes counterpart in the production of Lizzie’s videos) and of Georgiana/Gigi (a fresh faced and bubbly presence who gets much more involved in the matchmaking side of things with regards to her brother and Lizzie than the original would ever have dreamed of).

However, this go-around, the story felt unnecessarily drawn out and was rather tedious during the middle portion. It takes a long time to even get to the first “proposal,” let alone everything that came later. I think a good number of episodes probably could have been cut and the series would have ultimately kept up its pace and rhythm better. I have to imagine that this was a lesson learned for “Emma Approved” which has a shorter run time even though it is based off the longer book of the two.

The series also struggled with some of its more serious moments. The actors all felt more at ease with the comedy than the drama and there were times where some of it seemed to slip in quality from the rest. It’s just the kind of thing that is going to play more naturally with a comedic topic. Once we get into the drama with Lydia, I was not only beginning to feel the length of the show again but started to become more uncomfortable watching it. Like the romance, it was hard not to feel voyeuristic about these more serious portions. Yes, my brain knew it was all acted out anyways, but the other part of me cringed for seeing these intimate moments of seemingly “regular” people.

Overall,  I think it’s well worth checking out by all Austen fans. Though I will say that for me, at least, it was an experience that didn’t hold up to a repeat. Which is totally fine! I still remember loving it the first time and anyone who hasn’t seen it and loves these stories will probably feel the same. I do remember liking “Emma Approved” better, so we’ll see how that does the second go-around.

Heroines – “I hate to hear you talk about all women as if they were fine ladies instead of rational creatures.”

While the show is definitely bringing new twists to this story, I’m not quite sure how I feel about this Lizzie herself. Due to the nature of this story, her prejudice against Darcy does seem extreme to the point of rather obsessive. I mean, we’ve all met rude guys, but she takes it pretty far. And, overall, this Lizzie is much more cynical and judgmental of almost everyone around her than the version in the book. Elizabeth Bennett definitely jumped to conclusions, but she also seemed to generally treat people with a bit more kindness than this Lizzie. Again, the nature of this series, being a video diary for Lizzie, kind of sets her up for failure here. Most all of it is her talking about other people. And what are diaries made up of?

Yep, diaries = talking crap about a bunch of people behind their back. But when it’s a web series and that’s all you have…your heroine kind of comes off like a bit of a jerk to those around her. True, by the end of the series she does come around on all of this, but it’s still a bit much at times.

The worst was her fall-out with Charlotte. The idea is good, to exchange practicality about marriage with practicality about careers, with Charlotte not subscribing to Lizzie’s “go for the dream” job approach. But, like the problem I had with the 2008 version of “Pride and Prejudice,” this Mr. Collins isn’t that bad (at least not for a first boss, and we’ve all had bad bosses, so c’mon) and Lizzie’s reaction seems completely overblown. Even more so here than in other versions of this story.

Charlotte lays out her reasoning pretty clearly: her family is poor, she thinks much of career success is based on luck, and often a job is a job, something that you make a living doing. I mean…this speaks so much truth to my generation, a bunch of people who graduated from college with massive debts right into a recession where jobs were scarce and those that did exist barely paid.  It’s the RIGHT outlook! And, unlike marriage, a job isn’t meant to be forever. This is the exact sort of golden opportunity that you’d be stupid, and Lizzie is stupid for turning down! You start out with a company in a great position, and after a few years, leverage it into your dream job. This is just reality, and it has all the luck that Charlotte mentioned written all over it: just handed to Lizzie, and then Charlotte, on a gold platter for really no good reason other than a past connection and them being in the right place at the right time. And then Lizzie just tears into Charlotte over it. It’s pretty obnoxious, really. Granted, she does come around pretty quickly. But it’s a tough thing to recover from so early in the show. Not a good look for Lizzie.

I also had a few qualms with the acting itself. I think the actress was best in her comedy moments, especially the dramatizations of past scenes with her parodies of other people. But when the script called for more serious moments, be it the angry confrontation with Darcy, the sister squabble with Lydia and eventual reunion, and even the more serious parts of the romance…I just didn’t feel like the actress was really cut out for it. She tended to overact and her expressions and reactions felt a bit forced.

On the other hand, I really liked the actresses who played Jane and Lydia. I’ll talk more about Lydia in the comedy section. Jane, however, was pretty solid. She’s sweet, kind of quiet, and a great interpretation of the book character into a modern woman. We only see her on and off, but she’s a nice balance to both Lizzie and Lydia.

Heroes – “What are men to rocks and mountains?”

We don’t really see much of our heroes in this version. Bing shows up early enough, thinking the videos are just messages to Charlotte. I really like this interpretation of Bing. He’s charming, funny, and easy going. But! Importantly, he’s NOT an idiot. Yes, he does get lead around by his friends, but the series makes great efforts at the end for him to experience his own personal reflection and start making choices for himself. He drops out of med school, admitting he had only been doing it because that’s what his family wanted. And instead he was spending his time working with charities. Jane at first turns down his offer to follower her to NYC where she gets a new job. But after hearing about these moments of clarity on his part and his efforts to begin to make his own choices, she relents and the two are together at least. It’s a nice mini arc for the character, and it ties up some questions about his character quite nicely by allowing him to experience his own personal growth.

I mention this a bit more in the romance section below, but it’s really too bad that we don’t see more of Darcy until at least halfway through the series. Even Bing, we have a face to connect to the stories much earlier which goes a long way for how much we care about his and Jane’s storyline. But I do like the character a lot when we do meet him. His mannerisms are of the sort that it’s easy to see how Lizzie’s interpretations of his rudeness and coldness came to be. And it’s fun to see him loosen up gradually. I particularly liked the last few episodes after they’re together. There’s some fun nods to the book with a mention of his learning to be teased and dealing with Lizzie’s mother and father.

I also liked the way the show used career opportunities instead of proposals as the big kicks for each of the ladies. And through these moments, the heroes also had their moments to shine, with Bing prioritizing Jane’s work and going with her to NYC rather than asking her to stay, and Darcy, perhaps foolishly, originally asking Lizzie to work at his company. She is quick to point out the problems with this, but we also see how he plans to use his network connections to help her with her start-up.

Villains – “I do not want people to be very agreeable, as it saves me the trouble of liking them a great deal.” 

I really liked this take on Wickham. He’s only on a few episodes, but it’s enough to see how charming he can be. It’s also enough for the viewers, at least, to see what a complete idiot he is. He’s full on “dumb jock” through and through. Even Lizzie seems embarrassed by him at a few points. The adjustments to his storyline also work very neatly, switching out an estate for a full ride to Harvard, money that Wickham blows through in one year before asking for more.

His affair with Gigi is also a nice twist, with them forming a relationship and living together until Darcy shows up unexpectedly and proves that Wickham was only in it for the money by offering him a check to leave, which he takes and does. It’s nearly as traumatic as the elopement would have been in the book, but it serves well enough. The only thing that is a bit of a sticking point is that, given the current culture, while it may be embarrassing for Gigi, it’s definitely not the kind of secret that should affect her at all if widely known. It could be easily told and sink Wickham, and I sincerely doubt anyone would think anything bad about the poor girl caught up in it all.

The sex tape with Lydia is far more effective as a stand-in for the life-long horror he intends to bring down on her. The internet is forever, and that kind of thing, once published is almost impossible to put back in a box. It would have followed Lydia forever. It’s a pretty basic practice for most employers to run Google searches on their prospective candidates, so it’s easy to see how this would have had real, tangible effects on her ability to lead a normal life. And, in the end, she gets off way easier than the Lydia in the book. Doesn’t have to have anything to do with Wickham ever again rather than ending up married to the guy.

Lastly, Caroline is the other main villain. I really liked this depiction of Caroline. She’s much more cool and calculated in her manipulation, even hoodwinking Lizzie about her true character. Some of the early videos of her are particularly interesting as the viewer can see Caroline actively fanning the flames of Lizzie’s dislike for Darcy while Lizzie is completely clueless to this manipulation. And then, ultimately, Caroline is the one behind much of the Bing/Jane drama. She arranges a situation at one of her parties to have some drunk guy kiss and unsuspecting Jane right when Darcy is watching. With this in mind, it’s easier to defend Darcy’s interference: he legitimately thought Jane was pulling his friend’s chain. Caroline, however, is the true evil mastermind behind it all.

Romance – “A lady’s imagination is very rapid: it jumps from admiration to love, from love to matrimony in a moment.”

Yikes, the actual romance in this story is by far the most awkward thing in existence. The format of the show is never more working against itself than in these parts. I just felt super uncomfortable and voyeuristic watching the final kiss and conclusion to Lizzie and Darcy’s story. The build-up to this moment is fine, but the actual kiss itself…oof.

I wish there had been a way of introducing Darcy earlier in the series. The way the story is presented, this isn’t really possible, but once we can actually see the interactions between Lizzie and Darcy’s, it’s much easier to feel invested in their relationship. Really, if this wasn’t a retelling of “Pride and Prejudice” which conditions viewers to put importance on the Lizzie/Darcy drama, much of the first half of the series would seem oddly focused on a character we never seem to meet. It makes Lizzie’s fixation and extreme dislike feel all the more strange. Sure, the enactments give us an idea of Darcy’s personality and the social interactions that put Lizzie off in the first place. But all of Lizzie’s enactments are clearly extremes of characters, so when you only have those to rely on for such an important character…It’s just hard to feel invested in any of it, without seeing their awkwardness together. But once he shows up, it’s much better. And it’s even better as we see them develop a tentative friendship with him even participating in some of her mini dramas.

Comedy – “For what do we live, but to make sport for our neighbors, and laugh at them in our turn?”

Lydia is by far the funniest character in this series, especially in the first half of the show when she’s mostly just freely being herself , extremes and all. Once Lizzie starts pushing her to be more grown up and the Wickham drama comes in to play, it all gets a bit too serious almost. In the books what you loved about Lydia was also what you couldn’t stand about Lydia: nothing fazed her. Even in the face of social shaming and shunning, she never seemed to bat an eyelash about it and behaved the same way. Here, the story gets more much serious with how Lydia reacts to Lizzie’s perceptions of her, and even more so, the near miss she has with the sex tape.

But! In the beginning, she’s just hilarious. The actress brought a bunch of fun ticks to the character, with all of the hair flipping and camera poses. She also has a bunch of fun catchphrases, and it’s easy to see why she, of all the characters, ended up with some side videos in her own little series. I didn’t watch any of these for this re-watch, so I can’t speak to what those have to offer. But in a lot of ways her character is a breath of fresh air to the earnest and sweet Jane and the cynical Lizzie. She’s bouncy, bright, and ridiculous and brings new levity to all of her scenes.

I also really liked this version of Mr. Collins. While he is pretty ridiculous, he’s not nearly has intolerable as the character in the books. I really liked how he was always name dropping his VC (venture capitalist) Catherine DeBourgh. It was one example of the many perfect substitutions this series made for aspects of the book that wouldn’t work in a modern setting. Lizzie’s impressions of Catherine DeBourgh were also excellent, but only made me wish we could have actually seen the character on screen somehow!

Fun facts – “Life seems but a quick succession of busy nothings.”

Kitty becomes Lydia’s cat, “Kitty” who follows her everywhere. Mary is a cousin whom most of them seem to regular forget exists.

The movie “Bridget Jones’s Diary” exists in this world as one of the sisters mentions that Darcy’s name is the same as “that character Colin Firth plays.” So, Colin Firth makes it into even this adaptation, if only in name. It seems that the book “Pride and Prejudice” does not exist, however.

Mrs. Bennet has several plans to get Jane stuck over at Netherfield. One includes sending her over with a jello that, due to the rain, is sure to ruin her dress and force her to stay. Mrs. Bennet also arranges for home improvements which force Jane and Lizzie to stay there for several weeks.

Pemberley is the name of William Darcy’s media business, and he mentions it is named after the part of England that his family is originally from.

Caroline Bingley will make a reappearance in “Emma Approved.”

Best Movie Gif/Meme: “I dearly love a laugh.”

The Mrs. Bennet impersonations were by far the best.

In two weeks, I’ll review the first half of “Emma.” Yes, I know this is out of order, but my quarantine brain read this one first and I didn’t want to do either it or “Mansfield Park” a disservice by speed reading the latter and then trying to review the former months after I actually read it. So, it is what it is!