First Listen: Rosamund Pike Narrates Pride & Prejudice Recording 10 Years …

30 Nov 2015 | Author: | No comments yet »

Feast Your Eyes on a New ‘Pride and Prejudice and Zombies’ Poster.

Thanksgiving weekend is a time to eat too much and argue with your family, and if you’ve already worked your way through such controversial topics as vaccinations and Black Lives Matter, here’s another one to add to the list: The BBC’s Pride and Prejudice is hands-down the best adaptation of the Jane Austen novel ever made.We got a new international trailer and poster last week, but Sony’s Screen Gems also aired a new TV spot during last night’s The Walking Dead Midseason finale.Check out Lionsgate’s new poster for “Pride and Prejudice and Zombies,” based on the bestselling horror novel by Jane Austen and Seth Grahame-Smith.

The 1995 miniseries stars Jennifer Ehle and Colin Firth as Elizabeth Bennet and Fitzwilliam Darcy, two people who overcome their differences in class and temperament to realize they’re made for one another. We’ve had it adapted to fit the life a 30-year-old mess of a woman on Bridget Jones’s Diary; we’ve had it translated to a YouTube vlog on award winning Lizzie Bennet Diaries and now, we finally have zombies. When that happens, it becomes important to switch things up, or take the proceedings in a direction that movie audiences have seldom – if ever – seen before. A zombie outbreak has fallen upon the land in Jane Austen’s classic tale of the tangled relationships between lovers from different social classes in 19th century England. The last book written by Seth Grahame Smith that was adapted to the screen was Abraham Lincoln: Vampire Hunter, that received mixed reviews and did not attract big crowds to the movie theatre.

Darcy must unite on the blood-soaked battlefield to rid the country of the zombie menace and discover their true love for one another.“ Directed and co-written by Burr Steers (“How to Lose a Guy in 10 Days”), along with Oscar-nominated co-writer David. The story follows protagonist Elizabeth Bennet (Lily James) and her sisters through their lives that become devoted to training and fighting the legion of zombies intent on devouring them and those they love. But despite being well-regarded, director Joe Wright’s take on the source material is a pale, sad imitation of the BBC’s, and you can’t call yourself a true P&P fan until you’ve watched all six hours of it. (Plus, with its apt portraits of complicated family relationships and embarrassing relatives, it’s Thanksgiving-appropriate, too!) Here are four reasons the TV miniseries beats the pantaloons off the 2005 film. It stars Lily James, Sam Riley, Jack Huston (American Hustle), Bella Heathcote (Dark Shadows), Douglas Booth (Jupiter Ascending), Matt Smith (Doctor Who), Charles Dance (Game of Thrones), and Lena Headey (300, Game of Thrones).

The choice was the filmmaking equivalent of ordering a Coke and having your server respond, “Is Pepsi okay?” Lacking in both fire and haughtiness, Macfayden’s Darcy comes across as a soggy mopester, which makes his gradual softening from smug snob to ideal romantic partner far less resonant. The trailer is action packed, and there’s no denying that seeing the five Bennet sisters in the middle of a 19th century zombie apocalypse is both unsettling and really exciting. Luckily for them, their father trained them for this particular scenario all their lives (because you know, who doesn’t?) and there’s apparently no damsel in distress to be found here.

Wickham (Rupert Friend), who despite being convincing as a member of 19th-century One Direction never musters up the considerable charm that would be necessary to hoodwink a woman as sharp as Elizabeth. The film still needs to ensure that the balance of hardcore action with Victorian sensibilities stays dark and accessible; otherwise the film could end up being a mockery of itself – more 2004’s Van Helsing than 2012’s Exit Humanity. Consider this moment when, after brutally rebuffing Darcy’s proposal, Elizabeth inexplicably looks like she’s about to make out with him: But it’s not just Elizabeth and Darcy — the 2005 film’s Jane and Mr.

Simon Woods’s Bingley comes off as mildly cerebrally challenged, which has the unfortunate effect of making Rosamund Pike’s lovely, intelligent Jane seem a bit stupid for liking him — or, worse, blinded to his faults by his piles of money. But in the BBC miniseries, Crispin Bonham-Carter plays Bingley as the human equivalent of a golden retriever puppy, sweet and generous to a fault, making him the perfect loyal companion for the beatific, blonde eldest Bennet.

Yet the miniseries’ longer runtime gives its cast the time and space to really shine; even minor roles like Kitty and Mary are fleshed out with believable quirks and mannerisms. Even Pike as Jane, Elizabeth’s favorite sister and closest friend and confidant, is demoted from a central relationship to bit player status, even despite Jane’s romance with Bingley being a main driver of Elizabeth’s animosity toward and eventual reconciliation with Darcy. She’s far too fabulous as a villain for such a tiny role; her brief appearances mostly serve to make you wish for more head-butting between Lady Catherine and Elizabeth (and hope that they’ll join forces somewhere down the line).

The miniseries’ nearly six-hour runtime does more than just allow it to devote more space to minor plots and characters — it also leaves far more room for world-building, fully sketching in the limited contours of the women’s world. There are stretches where nothing much of anything happens, long bleak sequences full of grayish, wintry boredom that highlight the women’s relative isolation and lack of free movement. The “action sequences,” by contrast, serve to illustrate how tedious and suffocating the era’s endless niceties and social gatherings could be, yet what a necessary evil they were. The stakes attached to their marriages are extremely high, and every society scene serves to further underline the pressures that women of the time period faced. Collins, the miniseries makes no such display: Charlotte’s choice of mate was a cold, pragmatic decision based solely on financial prospects, and in later scenes with Elizabeth, we see her realize the full consequences of marrying an idiot with means, both good and bad.

The BBC’s miniseries is the rare instance in which the screen adaptation of a novel serves as an equally worthy companion piece to the written source material, and both works are strong and delightful in their own right. Watching the cast verbally spar with each other using Austen’s savagely witty words offers an incredible showcase of the author’s gift for language and satire.

Suddenly the long-suffering patriarch’s exchanges crackle with a wicked sense of humor; he delights in teasing his wife and is always ready to share a joke with his favorite daughter (at anyone’s expense).

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