Bridget Jones and Pride and Prejudice: Timeless Expectations

     In Jane Austen's Pride and Prejudice, we are shown a romance story wherein the heroine is forced under societal expectations that continuously obstruct her end goal of falling in love. This concept, and much of the story itself, is timeless. Even in modern adaptations of Pride and Prejudice, the fundamentals of the story translate so well into our current lives and culture. One such movie that has achieved this remarkably well is Bridget Jones's Diary (2001). This age-old story of romantic struggle under society's expectations of what is "normal" or acceptable carries on Austen's proverbial torch in a masterclass of cinema. 

Darcy and Elizabeth... Or Bridget in this case. 

    In Austen's original text, we are shown an oftentimes tense and emotional back and forth between Elizabeth and Darcy, portraying a relationship that seems like it's ready to explode at any moment but certain societal chains are holding them back and creating the driving tension of the story. This holds true all the same in Sharon Maguire's 2001 film Bridget Jones's Diary. Bridget is now the representative of Elizabeth's character-- a single woman in her thirties struggling to find love amongst the constant reminders and expectations of everyone around her. This is the modern equivalent of what we are shown in Pride and Prejudice, wherein Elizabeth is at the age where marriage is socially upon her and the pressure of her peers' expectations are only growing.

    Darcy's name stays the same in Bridget Jones's Diary, and his personality shows little change, either. We are shown a very similar man to the original: uptight, heavily filtered, working exclusively under social expectations, and seemingly bound to his family and job. For us American audiences, I'm sure his being exceedingly British helped heaps with the "posh" image the character of Darcy is meant to portray. He works as a lawyer in the film, constantly bouncing back into Bridget's life at gatherings and being pressured into marriage himself with his female colleague. The two work perfectly as a believable and likely far more relatable modern take on the original two characters. 

How Gendered Expectations Haven't Changed

     In Pride and Prejudice, the gendered expectations of the time are everywhere to be found and end up largely driving the story. Elizabeth is expected to marry, Darcy is expected to marry, but due to their difference in social class, it simply isn't meant to be in society's eyes and the two must fight for it and break social norms. This may sound complicated or overly dramatic, leading some modern audiences to think things like, "Why worry? Just get together." In reality, things haven't changed all too much, and Bridget Jones's Diary brings it back into modern times in a beautiful display of how gendered norms are hardly different nowadays, merely under a different guise. In the modern retelling, Bridget is faced with the pressure to find a husband from her family, her coworkers, her friends, and her peers. Through more than one awkward gathering, the pressure builds on Bridget more and more, echoing Elizabeth's nearly two hundred year-old struggles. One such scene wherein the tension is literally palpable is during the dinner scene (0:52:45), wherein every single person at the dinner table intently stares at Bridget, using physical and visual humor to represent the very real expectations they have. 

    

Clip begins at 0:51:45

    Bridget Jones's Diary's main gendered focus is on how the pressures of peers and society have remained consistent over the course of two hundred years, even though their face appearances may have changed. Despite the movie's humorous story and atmosphere, it does bring to surface some very real issues regarding the expectations placed on women in today's society.

Conclusion and Personal Thoughts

    

    I really, really liked this movie! It had been recommended to me before, but I'd never gotten around to watching it. It was also very funny to see Colin Firth as Darcy with him having played Darcy in the limited TV series. I'm honestly quite happy I hadn't watched the movie until after I'd experienced Pride and Prejudice, as the experience was bettered by getting the original experience that Austen delivers and seeing the parallels with today's society. 

Works Cited

Austen, Jane. Pride and Prejudice. T. Egerton, Whitehall, 1813.

Bridget Jones's Diary. Directed by Sharon Maguire, Miramax House Entertainment, 2001.

Reimagining Austen's Work in Pride and Prejudice and Zombies

Pride and Prejudice and Zombies 
Film poster

    Jane Austen's Pride and Prejudice (1813) marries dystopian zombie reality in Burr Steers' Pride and Prejudice and Zombies (2016). Similar to the novel, the film is set in nineteenth-century England, but with twenty-first-century dystopian world-building. In this film, a virus has infected the world, turning people into brain-eating zombies. While navigating the complicated marriage market and societal expectations, the Bennet family also battles against zombies. Unlike the original novel, however, the Bennet sisters were taught martial arts at a Shaolin temple in China. Although the undead plot elements change the story, much of the beloved courtship narrative remains intact. The Bennet family rushes against the clock to get all of the sisters married. When a wealthy young man, Mr. Bingley, moves into town, Mrs. Bennet is determined to see one of her daughters become his wife. During the family's first meeting with Mr. Bingley, his friend, Darcy, gravely insults Elizabeth's pride, starting a tension-filled feud between the two. As they navigate their growing feelings for one another, they must fight against the zombies that threaten everyone they love. The added element of Zombies raises the stakes of the narrative, building the tension to a life-and-death reality.

The Story Reimagined

Elizabeth drops Carrion flies into Darcy's hand

The addition of zombies to Austen's original story gives Elizabeth's character a more active role in the plot. This deviation allows for more creative liberties to be taken, especially in the case of female characters. If the female characters played the same role that they do in the novel, they would not survive the apocalypse. This is why Elizabeth can be the assertive, combative character that she takes on in this film. An example of this is in one of the first extended conversations Elizabeth and Darcy have, which is at Jane's sickbed. During her walk to the Bingley's estate, she was injured and became ill. Darcy, because of his position in the military, attempts to ensure she is not infected with the virus, so he uses Carrion flies as detection. In the defense of her sister, Elizabeth catches all of them in one hand before dropping them into Darcy's palm, saying, "I believe that these belong to you." The added tension of Darcy threatening Jane's life increases the stakes for Elizabeth, but the way she responds is perfect. Instead of lashing out at Darcy, she handles the situation efficiently with no spectacle. She does not let Darcy's status in society or in the military intimidate her into submission. This element of physical capability changes the dynamic between the original story and this one. 

Elizabeth saves Mr. Darcy from zombie Wickham

Another element of the film that changes the dynamics of the original plot is its resolution. When Lydia and Wickham run away with one another to zombie territory, Darcy follows to save her before the bridge is destroyed. He can free Lydia but finds himself fighting Wickham in a final showdown. Just as Wickham gains the upper hand and prepares to kill Darcy, Elizabeth swoops in and kills him. This scene adds to the adaptation by maintaining her active role in its end. Instead of Darcy saving Lydia from Wickham's plot, Elizabeth takes control of the situation. This alteration reinforces the strength of female characters that has persisted throughout the plot.

Treatment of Gender

    In this film, many of the female characters are portrayed as capable, deadly women. Even though they can take care of themselves, their male counterparts still impose gender expectations on them. For example, during the fight scene at the town's ball, the Bennet sisters heroically slaughter a horde of zombies in front of Mr. Darcy and Mr. Bingley. 

The Bennet sisters walking into the hall on their way to fight zombies. 

    The scene opens with the Bennet sisters strutting into the hall with a heroic score introducing them. In this entrance, the sisters take up a majority of the screen, placing the focus on them and their actions. Wearing evening dresses adds to the complicated nature of this scene. Not only are these dresses incredibly long, but they have corsets. This restricts movement and breathing for all of the women. For them to be capable of fighting in these dresses reveals the extensive training the sisters have taken to get to this point.

    Both Mr. Bingley and Mr. Darcy watch them without lifting a finger to help, seemingly in awe of their fighting prowess. Instead of being grateful and impressed by Elizabeth's impeccable fighting skills, Mr. Darcy only comments, "I am forced to acknowledge her figure is both light and pleasing and that her arms are surprisingly muscular yet not so much as to be unfeminine." Not only does this undermine Elizabeth's physical capabilities as a warrior, but it highlights the importance of remaining feminine even in a life-or-death situation. Instead of acknowledging Elizabeth as a skilled fighter, let alone an equal, Darcy focuses on her physical appearance and whether she is too masculine. This speaks to a larger theme throughout the film. Even though many of the women are trained extensively in martial arts and are just as capable as the men, Darcy's comment reveals that society still holds women to certain physical beauty standards.

    This scene also speaks to the male gaze. Instead of focusing on the heroic nature of this scene, the men choose instead to sexualize the sisters. Darcy and Bingley do not see these women as capable fighters; they see them as a release for their sexual desires. Even the weapons the women hold are used to satisfy the male gaze. In the hands of a man, the sword is a tool, but in the hands of a woman, it is symbolic of a penis. Instead of gripping a sword to save lives, the two men see it as a symbol of the women's sexual vigor. To these men, the women are only objects of male pleasure, not talented women who have saved their lives. The film's deviation from many traditional gender roles, the female characters' strength is still diminished by their male counterparts because of the male gaze and societal pressures.

Mr. Collins asking Elizabeth to marry him.

    Another scene that speaks to gender roles in the film is the scene where Mr. Collins proposes to Elizabeth. Similar to the novel, Mr. Collins asks Elizabeth to marry him by listing all of the reasons they would be a great match. Many of those reasons do not deviate from the original dialogue, but Mr. Collins adds a stipulation: Elizabeth must give up fighting as "marital submission." In a world in which fighting and being capable of defending oneself is a necessity, Mr. Collins focus on Elizabeth being the docile wife reveals how this society thinks women should behave. The focus on being a proper woman over survival reinforces the restrictions that society places on women, despite the world's current climate. His stipulation reveals that a woman's place in a marriage is submission to her husband, relinquishing her autonomy and independence. 

Conclusion

    One of the many reasons Pride and Prejudice has remained timeless is Elizabeth's character. Her intelligence and outspokenness resonate with audiences across history. The film's addition of physicality to her character makes her even more compelling to modern audiences. In this film, she can not only speak for herself, but she can back it up through her actions. Around the time that this film was created, multiple female characters with similar skill sets in dystopian films wowed audiences. The addition of martial artist Elizabeth Bennet fit right in with her peers. Her character fills a niche that existed in that specific set of years but has remained endearing in the subsequent decade. Even with the modern twist, the film draws attention to problematic societal standards and male behaviors that have persisted for centuries, addressing these in often comical ways.

Romantic Comedy Meets Horror

     Jane Austin's Pride and Prejudice has been adapted many times over, but only Pride and Prejudice and Zombies directed by Burr Steers based off of Seth Grahame-Smith's book can boast introducing the classic romance to horror. The film takes the regency era story and places it into an alternate history of a zombie plagued Great Britain. It's additive in nature, the same story we know and love just add zombies and follow the logical conclusions of what the world would then look like. 

Colonel Darcy at Mrs. Featherstone's Party

    Mr. Darcy, or Colonel Darcy in this film, plays a
larger role in the crowns attempt to fight back against the zombies. He acts almost like a one-man inquisition searching for zombies amongst the nobles, leading men, and being one of the first in the fight at any opportunity. We first meet him doing just this at Mrs. Featherstone's party where he quickly finds and dispatches a zombie despite the distrust and dislike he is shown. Then again, a zombie hunter at your door is never a good sign no matter how rude he comes across. He is shown to be both intelligent and strong with a loyalty that pushes beyond the original text of not just threatening embarrassment or social ostracism but outright death at the hands of a zombie hoard to help the woman he loves family.

Elizabeth and her sisters at the Meryton Ball

    Miss Elizabeth Bennet, the second Benet daughter, is still the outspoken young woman we know, but with a deadly twist. She, like her sisters in this adaptation, have been taught the deadly arts to defend themselves and fight against the undead that plagues their world. This physical power leads further into a more direct way of speaking out seen best in the adaptation of the proposal scene at 1:06turning into a brawl between the two. Elizabeth is still allowing her emotions to rule her even leaving the Meryton Ball to cry after being humiliated. Of course, her humiliation is soon forgotten thanks to the approaching zombies at which point she makes full use of her training, but the underlying
rule of emotionality still reigns over her in this adaptation.

    The main changes to the story follow the zombie's involvement. Each party and ball end with an invasion of zombies. Each travel scene involves at least seeing if not fighting zombies. Mr. Wickham is a zombie sympathizer who eventually is revealed to be the zombie antichrist. Instead of Lydia marrying Mr. Wickham she is saved from him after being held captive in a zombie church. Lady Catherine is the deadliest swordswoman in Britian who eventually safeguards the Bennet's in the final act. Even the changes in violence and physicality are made because a zombie apocalypse should be a good enough reason to let even the women violate the rules of proper conduct to not fight in public.

Darcy VS. Wickham & Lady Catherine De Bourgh 

    The gender rules and roles in this adaptation are a strange mix of modern, and conservative. The women are still expected to be the accomplished and poised girls that were valued in the regency era. This is still a patriarchal society that follows those norms. However, the women are much more outspoken in this adaptation than the original leaning into more modern views of women speaking their minds. The alternate history of the zombie apocalypse allows for another modern view to come up, allowing the women to fight. Regency women would not have been allowed to learn martial arts to fight even in a state of emergency. Not to mention the racism that would have prevented them from learning traditional Chinese and Japanese fighting styles. Instead, these women are not just taught to fight and excel at it but fight alongside the men. The Bennet sisters prove to be better warriors than even some of the male characters like Mr. Collins and Mr. Bingley who are quite useless in a fight, which is a bad thing to be in a zombie apocalypse. 

188 Years Later, Have Things Changed?

Mark, Bridget, and Daniel from Bridget Jones Diary 

Jane Austen's Pride and Prejudice has been adapted in many different ways. From stories following Austen's complete plot, to stories that venture out and add to the plot. An example of this would be Bridget Jones Diary directed by Sharon Maguire. 

Bridget Jones Diary summary 

Bridget Jones, who plays the part of Elizabeth Bennet in Bridget Jones Diary is a 32 year old woman, Much like Elizabeth she feels she is fighting against time to find a husband. With outside pressure from her mother and peers, it seems almost like her biological clock is running out. She is also outspoken and bold, much like Elizabeth. Mark Darcy, who is our Mr. Darcy of Bridget Jones Diary is an odd character who seems to strongly dislike Bridget from the moment he meets her. Much like Darcy with Elizabeth. 

Our two main characters, Darcy and Bridget, dislike each other very much. Mark Darcy does not like how Bridget drinks, smokes and much about her outspokenness. While Bridget finds Darcy to be arrogant. When Bridget falls for Daniel Cleaver, Darcy is quick to warn her family about how Cleaver is not a good enough man for Bridget. This later does prove correct when Cleaver cheats on Bridget with another woman at work. 

Similar to Darcy and Elizabeth, when Mark Darcy confesses his feelings to Bridget she shuts him down immediately. Though this happens, Darcy goes out of his way to get Bridget a big interview at her new job which gets her lots of notice. Darcy and Bridget spend the night cooking for her friends and birthday, getting to know each other. Eventually Cleaver shows up, confessing that he cannot stop thinking about Bridget, which causes Darcy to get upset and leave. Just like in Pride & Prejudice, Darcy and Cleaver fight, leaving Bridget mad at Darcy. After some time, at the Darcy's family party, Bridget finally confesses that she feels the same for Darcy. It is then announced that Darcy is to leave for New York, though he doesn't go because he forgot to give Bridget her "goodbye kiss."

Bridget Jones Diary book cover

Discussion of Gender

With our main character Bridget being 32 years old, she faces the societal pressures of being unmarried. We see this through out the movie with Bridgets mother pushing her to meet men at every social gathering. 

Another pressure of marriage and children we see throughout the movie is the dinner scene. Bridget gets asked why it is so many women in their 30's are unmarried, she responds with, "Oh, I don't know, I suppose it doesn't help that underneath our clothes our entire bodies are covered in scales." To which no one at the table laughs at her joke and moves on with their own conversations. Another part from this scene, when Bridget is getting nagged about not being married she replies with, "Tell me, is it one in four marriages that end in divorce now, or is it one in three." 

When people are discussing Bridget running out of time for marriage and children they will often make a "Tick Tock" sound at her to insinuate her age. Through out the movie, Bridget refers to herself as a spinster. I believe this is due to all the outside pressure being placed on her. 

Conclusion 

These two stories may be in very different time periods but they still show that societal normals have not changed. Woman are still given a biological clock, being seen as "spinsters" is not finding a husband. Woman are judged for their outspokenness and personality while it is normalized in men. While these stories may have differences due to the modernization of Bridget Jones Diary, the story still shows that it seems to be a woman's goal in life to find a husband, no matter the age. 

Pride and Prejudice and Zombies (2016) is For the Girls

Pride and Prejudice and Zombies (2016) alt poster

     Romance lovers everywhere consider Pride and Prejudice by Jane Austen to be a trailblazer for the classic courtship novel. This book paved the way for so many incredible stories, but more importantly, stories involving incredible women. Jane Austen herself inspired so many women to write and create and publish and pour their hearts unashamedly into the genre, much to all of our benefit. Pride and Prejudice and Zombies (2016) features women in a strong and confident light, while still showing the soft and vulnerable aspects of the female characters. Just because you've completed a bunch of impressive martial arts training and have an excellent combat record against zombies doesn't mean you're immune to feeling.

    The film introduces Elizabeth as a trained fighter, as are the rest of her sisters, who allegedly studied war techniques and training against zombies in China. Regency England is currently overrun by zombies, hence the need for the training. Every girl has at least one gun and at least one knife strapped to them, if not more.

I love that it presents them as able to handle themselves and it makes me feel more empowered as a woman. The fact that Elizabeth and Jane can both hold their own is very fun to watch; in particular, the scene where Mr. Collins (who is played by Matt freaking Smith!!!!), Elizabeth, Jane, Kitty, and Lydia encounter the carriage trap. I thought it was hysterical that Matt Smith was playing a cowardly character because I know him as Daemon Targaryen from HBO's House of the Dragon.

    Mr. Darcy is introduced as a Colonel, likened to the original novel, but in the 2016 film, he is a Colonel for England on the front lines of the zombie war. He is presented almost like a sheriff in the beginning when he goes to investigate the manor in Hertfordshire. I thought the element of the flies (as much as I DETEST bugs) to determine dead flesh was very cool. Darcy in this adaptation is very brooding; he is very much giving lone wolf vibes minus his friendship with Bingley. The dramatic fight scene with Wickham was his big display of masculine power in order to right the massive wrong he [Wickham] created with Lydia. 

    Darcy may be a Colonel and a titled aristocrat, but it is Elizabeth who comes out on top in this film. Not only does her wit shine with Austen's original writing, but her combat experience and strength are what leaves HER standing at the end of the battle, NOT HIM. Not to mention, Lydia, who has just been detained against her will for who knows how long, comes riding through the battlefield on a horse! Even Lady Catherine, who plays a minor role in comparison to Elizabeth and Darcy, is played by Lena Headey who is an absolute rock star. She is portrayed as the most infamous zombie slayer in the country! She even wears PANTS in Regency England which is very clever on the filmmaker's part.

Pride and Prejudice and Zombies (2016) movie poster

    Traditional gender roles of the time period are still included, such as the original detail of the Longbourne estate being entailed to a man, the dance manners, the girls having to marry wealthy, etc., but I think Pride and Prejudice Zombies (2016) did an excellent job at representing how women can be delicate and deadly at the same time. A prime example of this is Jane--very sweet girl, very deadly with a gun. Elizabeth feels intense anger towards Darcy when he proposes and physically attacks him but cries over his perceived-to-be-fallen body. The magic of duality is a wonderful thing.💫

    All-in-all, I think this film is a lovely representation of just how far we have come in the romance genre since Austen's original publishing. It includes all of the good Austen writing and adds violence! And female rage! It implies that any man who wrongs a Bennet sister will be dealt with, and honestly, AS IT SHOULD.💅 

     

Same Story, Different Culture

 

Jane Austen's Pride and Prejudice and Gurinder Chadha's film adaptation Bride & Prejudice explore love, social expectations, and the importance of overcoming personal prejudices. However, Chadha transforms Austen's nineteenth-century English society into a modern setting that examines cultural differences between Indian and Western society. In Austen's novel, Elizabeth Bennet and Mr.Darcy's relationship is complicated by class differences, pride, and misunderstandings. In Chadha's adaptation, Lalita Bakshi and Will Darcy experience similar conflicts, but their differences are also shaped by cultural identity and nationality. Both Elizabeth and Lalita are intelligent, outspoken women who refuse to marry simply for money or status. By adapting Austen's story to a different time and place, Chadha preserves the original themes while introducing questions about cultural stereotypes and Western privilege.

One major difference between the two works is the type of prejudice the heroines challenge. In Austen's novel, Elizabeth initially dislikes Darcy because of his arrogance and pride. She eventually learns that her judgement of him was influenced by her own assumptions, while Darcy recognizes that his pride has affected how he treats others. In Bride & Prejudice, Lalita confronts Darcy's dismissive attitudes toward India and its traditions. His assumptions about Indian society make her question whether he respects her background. While Elizabeth's conflict centers primarily on class and personal character, Lalita's also involves cultural identity and the belief that Western society is superior. This change makes the adaptation relevant to modern audiences by showing how prejudice can develop not only between individuals but also between cultures.

The two works also reveal how gender expectations shape women's decisions about marriage. In Pride and Prejudice, the Bennet sisters face financial uncertainty because their family estate is entailed to Mr. Collins, leaving them unable to inherit it. Mrs. Bennet's determination to find husbands for her daughters reflects the limited opportunities to women during Austen's time. Charlotte Lucas' marriage to Mr. Collins, illustrates the consequences of these restrictions. In Bride & Prejudice, Lalita's mother similarly prioritizes finding husbands for her four daughters. Her belief that love can develop after marriage reflects traditional expectations that women should prioritize securing a suitable husband. Chandra's decision to marry Kohli also parallels Charlotte's choice because both women accept practical marriages rather than waiting for romantic love. However, while Austen's novel criticizes the social system that limits women's choices, Chadha places these expectations within a modern Indian context, showing how traditional ideas about marriage can continue to influence women even when society changes.

Despite these pressures, Elizabeth and Lalita resist the belief that marriage should take priority over personal happiness. Elizabeth rejects Mr. Collins because she cannot imagine being happy with someone she does not love, even though accepting his proposal could have benefitted her family. Lalita likewise challenges the expectation that she should accept a wealthy husband without considering his character. Both women want relationships based on respect rather than wealth or social position. However, Lalita's independence also involves defending her cultural identity against Western judgements. While Elizabeth primarily challenges class prejudice within English society, Lalita challenges both gender expectations and the belief than Western culture is superior to Indian culture. This difference makes the adaptation especially interesting because it shows how a heroine's struggle for independence can take on new meanings when a familiar story is placed in a different cultural setting.

Ultimately, Pride and Prejudice and Bride & Prejudice demonstrate how literature and film can explore similar social issues through different cultural perspectives. Austen criticizes the class system and economic pressures that limit women's choices, while Chadha extends these concerns to cultural prejudice and the persistence of traditional marriage expectations. I think the adaptation is effective because it shows that Austen's themes remain relevant even when the setting changes. The differences between Elizabeth and Lalita's experiences also encourage audiences to consider how culture influences ideas about love, gender, and independence. Both works ultimately challenge audiences to question their assumptions about others and recognize that a successful relationship requires more than financial security or social status. It requires respect, understanding, and the willingness to reconsider one's own beliefs.

1,600 × 1,0281,600 × 1,028

Beyond Pride and Prejudice: Love, Independence, and Expectations

Austen's Story on Screen 

Jane Austen's Pride and Prejudice, originally published in 1813, is a novel that explores love, marriage, social class, and the expectations placed on women during Regency era England. The 1995 BBC television miniseries, directed by Simon Langton, starring Jennifer Ehle as Elizabeth Bennet and Colin Firth as Mr. Darcy, adapts Austen's story through its portrayal of the characters and their developing relationship. Although the adaptation remains close to Austen's original story, it brings the characters and their relationship to life through dialogue, performances, and visual storytelling. Things like time period, plot, and dialogue all stayed the same throughout the six hour adaptation, giving certain elements of the story more detail and time to adapt in the viewers eyes. Through Elizabeth and Darcy's characters and interactions in this adaptation, the miniseries preserves the original stories themes of gender, independence, and the expectations surrounding marriage while bringing the characters to life in an effective portrayal. 

Eliazabeth and Darcy's Story

Throughout the miniseries, Elizabeth and Darcy's relationship develops through their initial misunderstandings, disagreements, and eventual recognition of each other's character in a very similar portrayal of the original novel. I personally enjoy the fact that this adaptation is a six hour long commitment, as more time is given to the development of Austen's complex characters. Elizabeth realizing

her feelings for Darcy does not feel sudden and rushed, instead it allows their relationship to develop gradually and let the viewers adjust without rushing through important moments. Scenes like the proposal

at the end and the confession of feelings between Elizabeth and Darcy are much more believable after six hours of build up. The adaptation does a great job at portraying the characters, especially Elizabeth, while also maintaining the beginning banter of her and Darcy's relationship. I enjoyed scenes of their early dynamic coming to life, such as the scene where Elizabeth, Darcy, and the Bingley's discuss what makes a woman accomplished, while Elizabeth is staying at the Bingley's as Jane is there sick. Just like in the novel, Darcy explains that an accomplished woman must possess "something more substantial, the improvement of her mind by extensive reading". We all know Elizabeth responds by questioning his
judgement, stating "I'm no longer surprised at you knowing only six accomplished women. I rather 
wonder you knowing any", but in the adaptation we get to see more than that. Such as the way Elizabeth

looks as if she has to try not to laugh in his face at his expectations for woman, and her slightly rolling her eyes after saying she wonders him knowing any. Then we get another layer to the interaction that isn't communicated through Austen's original dialogue alone, which is the way they show Darcy immediately after Elizabeth's comment. The combination of his expression, the long paused shot of him staring at her, and the music is all intentional in showing how intrigued he is by her challenging him and how his feelings are beginning to alter. Small and meaningful scenes of their early banter and disagreements like this exchange are significant to the story telling of their relationship, and this adaptation did a great job at bringing them to life. 

Gender Treatment within the Adaptation 

The miniseries portrays gender in a way that feels similar to Austen's original themes, specifically for Elizabeth. Throughout the miniseries, this adaptation maintained her as witty, confident, intelligent, and stubborn in all interactions, especially as she continued to challenge Darcy. In the scene where Mr. Darcy proposes the first time, even when she is angry and surprised by his proposal, she holds herself well and is very composed while rejecting him. Darcy's character remained fairly similar as well, however, it was approached in a way that can be appreciated. Colin Firth's performance of Mr. Darcy is more humanized and instead of being interpreted as cold or haughty, comes off as somewhat awkward and shy, and it shows in certain scenes. In his first and failed proposal, there is no sexual tension and intenseness that some other adaptations try to bring to the screen. Instead, he is awkward, with long uncomfortable silences as he looks like he is battling with what he is about to say, stuttering through his feelings. The adaptation also includes the scene of him jumping into a lake that had many viewers talking about how it portrays him and the conversation of gender at that time. I do not think it was the craziest scene to add, I actually thought it was a bit funny and added to this adaptations portrayal of Darcy as he tries to remain cool and calm when he runs into Elizabeth dripping wet. Some may prefer a more brooding, dark, mysterious version of Darcy, but this adaptation offers a different perspective that his cold behavior is not always a sign of confidence. 

In conclusion, the 1995 BBC television miniseries, directed by Simon Langton, is an adaptation that I would recommend to anyone who genuinely enjoys the story of Pride and Prejudice, wants to see it comes to life, and who enjoys the world of Austen's sharp and witty intelligence. The six hour adaptation allows the story to unfold naturally, maintaining Elizabeth's character as a woman who challenges traditional female expectations, while offering a new perspective at Darcy's character that challenges traditional ideas of masculinity. Through Elizabeth's confidence and independence, the adaptation emphasizes the importance of women standing in their beliefs rather than conforming to societal expectations. At the same time, Colin Firth's portrayal of Darcy reveals a more awkward and emotionally vulnerable side to a character who is usually viewed as cold and arrogant. Overall, the miniseries stays true to Austen's original story while using its performances and extended format to create a believable, gradual development of Elizabeth and Darcy's relationship. 

Love, Power, and Gender: Pride and Prejudice (1995)

 

Pride and Prejudice (1995), a BBC Miniseries:

    Although there have been numerous adaptations of Jane Austen's Pride and Prejudice, I believe the 1995 BBC miniseries, which starred Jennifer Ehle as Elizabeth Bennet and Colin Firth as Mr. Darcy, does a particularly effective job of showing how just how social expectations affect relationships in this time period. The story, which takes place in nineteenth-century England, follows Elizabeth and her four sisters as they make their way through a society where a woman's future usually hinges on finding a suitable spouse to take care of them and rid their family of the financial obligations of birthing a woman who is seen as nothing but a bargaining chip. Marriage is not only about love but also about survival and financial stability, because a male relative (in this case, the rather squirrely Mr. Collins) will inherit the Bennet family property. Elizabeth wants a relationship built on not only the basis of true love, but respect.  However, Mrs. Bennet is eager to get her daughters married. The most intriguing aspect of the miniseries, in my opinion, is how Elizabeth defies societal norms without totally abandoning them. Despite being a romance, I believe the story also condemns a society in which men are often judged based on their income and social standing, and women are evaluated based on their chances of being married.

Elizabeth Bennet: A Woman Who Refuses to Conform:

    One of the earliest examples shown in Pride and Prejudice (1995) is in Episode 1, around 14:30-16:30, during the Meryton dance when Darcy refuses to dance with Elizabeth and then makes a rather snide comment about her appearance. Darcy, as a wealthy man, is immediately more attractive to the community even though his behavior is pretty arrogant. I find this scene very interesting because it shows how easily social status can influence people’s opinions unfairly, because no one (besides Mrs. Bennet, or course) really bats an eye at Darcys rather rude exit of the conversation. Darcy is treated as a desirable bachelor because of his wealth, while Elizabeth is expected to worry only about how she acts around men and to make herself seem desirable and ready to marry. Elizabeth, however, doesn’t respond by striving to win his approval. She instead just laughs at how he acts and refuses to take him seriously, which visibly irritates as well as fascinates him, as you can see how he follows her with his eyes with a grimace on his face. To me, this is truly one of the first signs that Elizabeth doesn’t fit into the traditional expectations for women in her society. She judges a man based off his character and not his financial/social position. Another example that stands out to me is in Episode 1, at 18:20, where Elizabeth and Mary discuss dancing and social standings. The dances, on the outside, seem like events for mindless entertainment, but in reality they are actually pretty important social gatherings used for courtship and gossip. The women who attend are usually expected to present themselves to the high society as suitable wives for their husbands. The miniseries did an outstanding job of showing that even seemingly small, casual social events like dances are actually more important to the women than expected, as they are gradual gateways into marriage. 

Love or Security?:

    Another thing that I thought was done well by Pride and Prejudice (1995) is the contrast between Elizabeth and Charlotte Lucas. In Episode 2, during Mr. Collin’s rather embarrassing proposal, Elizabeth refuses to marry him even though his financial advantages over the family could provide a better life for them all. Mrs. Bennet places immense pressure on her to accept, showing that Elizabeth’s decision to refrain from marrying him also affects more than just her romantic future, but the Bennet family itself. Elizabeth’s refusal is admirable because she recognizes that marrying someone she simply doesn’t love would make her unhappy for the rest of her life. I also think that it is important to recognize that her decision is also not one that many women of her time could make. Charlotte’s subsequent engagement to Mr. Collins in Episode 3 shows why this was such an outwardly puzzling choice by Elizabeth. Charlotte accepts his proposal despite the lack of romantic attraction towards him, because she wants financial stability and a secure home, and the feeling of being a burden of her parents is relinquished. Now, I don’t think the decision Charlotte made necessarily meant she had lower standards of marriage than Elizabeth, but instead I believe she understood that there were limited options here for her, especially as a slightly older woman who had even fewer prospects of marriage than Elizabeth. In some ways, Charlotte’s decision is just as practical as Elizabeth’s rejection. The contrast of these two women calls into question of just how society truly allows women to choose freely. Elizabeth can reject Mr. Collins because she wants to wait for someone who is truly her perfect match, but Charlotte feels she simply cannot do the same. The problem is not that women make different choices, but is it that circumstances determine how much autonomy they truly have.

Mr. Darcy's Proposal:

    Darcy’s catastrophic first proposal to Elizabeth happens at the end of Episode 3 (46:00-51:00), and here is truly where I believe the best scene of the show comes to a head. Darcy admits that he loves Elizabeth, but his proposal is complicated by his awareness of her family’s lower social standing. His attitude suggests that he initially believes his wealth and status should make him an acceptable husband, even despite his very rude behavior toward her. Elizabeth, to no ones surprise, rejects him angrily. The scene works very well on screen because you can actually see how the tension of Darcy’s overconfidence and Elizabeths refusal to be intimidated by his word vomit. This also allows us to follow Darcy’s line of thinking as Colin Firth is very good at making such small gestures or nervous twitches show just how out of touch he is. Compared to reading the novel, the 1995 adaptation shows how the relationship changes visually by giving you a more in-depth look at how Darcy becomes more respectful and soft-spoken to Elizabeth, and how Elizabeth recognizes this change in him and in turn becomes more open.

Adapting Romance and Defying Expectations in Code-Era Hollywood

Before the 1995 and 2005 adaptations of Jane Austen's novel was Pride and Prejudice (1940), a Motion Picture Production Code-era romance showcasing the expectations of both Hollywood and society at the time of its release. By its changes to the source material in terms of characters and story arcs, this adaptation simultaneously enforces and deconstructs gender expectations, specifically in its "nontraditional" portrayal of Elizabeth and Darcy in comparison to other couples of the story.

"Traditional" Couples and Behaviors in Pride and Prejudice (1940)

Mr. and Mrs. Bennet are the clearest example of traditional couples in this adaptation. At their first scene together, it seems that both characters are exaggerations of gender-specific perceptions and expectations: Mrs. Bennet speaks very loudly, often, and is visually over-the-top. Her outfit is filled with frills and takes up a lot of physical space. By comparison, Mr. Bennet speaks quietly and sports a much simpler outfit that is close to his body and takes up little space. His quips to his wife that are present in the novel and in other adaptations (such as those about her nerves) are not played for laughs and are instead said seriously. The comedy in this scene, in fact, seems to be shifted away from these witty lines and to the stereotypical dynamic of their relationship: loud, overbearing wife and quiet, logical husband, which was most likely much funnier to a 1940s audience than it would be to one of today. 

Bingley speaks to Jane from behind a partition.

Yet another scene that dates this adaptation, albeit for a different reason, comes when Jane is sick and confined to Netherfield. Though short and inconsequential when comparing it to the same scene in the book/the 2005 adaptation, the blocking and set design of this short sequence is particularly interesting, as it separates Jane and Bingley. When Bingley visits the bedridden Jane, he is behind a partition with only his head visible, as if he is not allowed in the bedroom with her despite the innocent nature of his visit. This is, perhaps, thanks to the rules governing motion pictures at the time and the perceived licentiousness of Bingley and Jane being in a bedroom together, especially before marriage. Regardless, this decision enforces traditional ideas of relationships and marriage by barring the two from interacting in a personal manner, or even getting close to each other, before being wed. What is usually shown simply with the presence of a chaperone is emphasized with the addition of this barrier, something unique to this adaptation

Mr. Bennet refuses to shake Wickham's hand.

A final couple worth mentioning is Lydia and Wickham. Absolutely nothing regarding their relationship is shown on screen until after their hasty marriage. They run away offscreen, are only mentioned in the letter, and are not seen again until the situation has been resolved. No hints to their relationship are given beforehand, either - they don't interact at all like they do in the novel or in the 2005 version. It's as if the nature of their relationship makes it too risqué to show. However, before the two get together, Wickham is present in the story. He's introduced in one of the first scenes of the film, unlike other adaptations, and is present consistently throughout the film's run until this happens. Lydia, however, isn't. She isn't shown much at all until after she is married and isn't established as a character to the same extent that Wickham is. It's as if she doesn't exist until she is wed. After the fact, Wickham is introduced to her family as her husband. Though her mother approves, this approval is silent and insignificant, and instead a show is made out of Wickham's introduction to her father. At this scene, Mr. Bennet refuses to shake Wickham's hand, therefore disapproving of their marriage despite his wife. Here we see the standard of the time (both the time the movie takes place and the time of its release) that the approval of the father was prioritized over the approval of the mother, and that no conversation between the two occurred. What the man of the house says goes, and no verbal input or physical action is given by Mrs. Bennet regarding Lydia and Wickham's marriage. Mr. Bennet's opinion is ultimately the one that matters.

Elizabeth and Darcy and the Subversion of Gender Expectations 

When comparing them to the previous couples, Elizabeth and Darcy differentiate themselves quite greatly in terms of gender expectations. Their arc is much like that of the novel, though Elizabeth does not seem to harbor the same negative perceptions of Darcy that she does in the original text - there is no broader society perspective on him, and therefore she (ironically) has little "prejudice" to overcome. A major turning point in their relationship, and a significant scene when talking about gender, comes during the Bingley's party. Mr. Darcy sees Mr. Collins practically chasing after Elizabeth and intentionally misleads Mr. Collins when he asks if he saw her. While this unfortunately falls into the "damsel-in-distress" stereotype, we do see Darcy taking the side of a woman, Elizabeth, over that of a man, Mr. Collins, before him and Elizabeth even get the chance to interact officially. Afterwards, the two finally do so and decide to practice some archery, which Darcy says "even a young lady" can learn. He soon realizes that Elizabeth is much more proficient than he is and actually admits that he was wrong in assuming she did not know how to shoot, saying: "Next time I talk to a young lady about archery, I won't be so patronizing." Elizabeth mentions that most men would be offended by her being better than them, but Darcy clearly is not. This speaks not only for the fact that men at this time have this attitude (Elizabeth has clearly experienced this before) but also sets Darcy apart from the majority, depicting him as someone that is okay with being bested by a woman. 

Darcy "teaching" Elizabeth archery

Another aspect of this scene that sets it apart from others is the physical proximity of Elizabeth and Darcy. Despite being just minutes after the Bingley and Jane scene in which they were separated, no such thing happens here, perhaps because of the different setting. This makes for an undeniably intimate moment in which Elizabeth and Darcy can connect, physically and emotionally, during a seemingly trivial action. They defy expectations both in terms of gender norms and film norms. Tension manifests covertly, but it is obviously there.

Just after the archery scene, Darcy and Elizabeth continue their conversation and get on the topic of men's behavior. Darcy, unexpectedly, is more than willing to explain his perspective on what men hold dear, being vulnerable and talking down on his own sex for the sake of honesty to Elizabeth whilst also demystifying men for her. She has grown up in a house of primarily women in a time where men and women are socially separated, so it makes sense that she has these questions, and Darcy willingly answers, saying: "A gentleman does not have to explain his actions, he expects people to give him credit for being a man of honor and integrity." The conversation stops here and Darcy departs, but he nonetheless is going against what he is saying by literally explaining his actions (and the actions of men in general) in a social setting where it would most likely not be acceptable.

Lady Catherine informs Darcy of her victory in
ensuring that Elizabeth intends to marry him.

However, Darcy and Elizabeth's depiction in Pride and Prejudice (1940) is not without its faults. A major difference in their romantic journey comes in the form of Lady Catherine, who no longer acts as a wedge between them but instead as a wingwoman to Darcy, who uses her to ensure his and Elizabeth's marriage. Her "argument" with Elizabeth is instead a ruse to prove that Elizabeth does love him and intends to marry him. It is also Lady Catherine that reveals to Elizabeth that Darcy arranged the marriage of Wickham and Lydia, giving her yet another reason to marry Darcy. With this, Lady Catherine is robbed of her opinion and individuality (instead becoming a tool of Darcy), and Elizabeth of her agency and will in standing her ground and going against the Lady's wishes.

While this adaptation is far from perfect, its portrayal of Elizabeth and Darcy differentiates from standard gender dynamics of the time, such as that depicted by Mr. and Mrs. Bennet, and paints them as an iconic couple that defies norms.

Overbearing Mothers and the Expectations of a Single Woman.

Overbearing Mothers and the Expectations of a Single Woman. 

                                       

Jane Austens classic Pride and Prejudice has been reimagined countless times in the last 200+ years with different eras, locales and dynamics. The 2001 rom-com classic Bridget Jones's Diary tells the story of Elizabeth and Darcy in a fun, refreshing way with a revamped plot of how the world now would see it happen. The film stars Renee Zellweger and Colin Firth as this rendition of Elizabeth and Darcy. Colin Firth famously plays Mr. Darcy in the 1995 BBC miniseries of Pride and Prejudice so it is quite an obvious pull to revise Firth as the Darcy in this film. There is a lot of parallels in this film and the book, the main parallels is the depiction of societal expectations and the role of Bridgets mother within this dynamic. 

                                                                              (Film poster)

How the Film Adapts Darcy and Elizabeth 

    

(The opening party scene in Bridget Jones's Diary, 2001)

    In the regency era the expectation that a woman is to find a husband is a top priority and matters over anything. The entire story of Pride and Prejudice is Elizabeth and her sisters on the hunt for a husband. The Bennet family knows what is expected of their daughters. Elizabeth is fully aware of the expectations about her finding a husband. Bridget Jones also pulls from this theme in the opening scene where Bridgets mother is trying to drill Bridget about finding a nice man at the family turkey curry party. This party scene reads very closely to the ball scene in Pride and Prejudice where the whole Bennet family makes an absolute fool of themselves in the name of showing face to potential suitors. Bridget is in a ridiculous outfit and is being embarrassed by her creepy uncle, while Darcy is also in a ridiculous sweater. Bridgets mother is being incredibly overbearing during this scene to the point where she needs to be yanked away by a relative. Towards the end of the ball scene Mrs. Bennet gets removed from the festivities due to her drunkenness and saying crazy things about the looks of her daughters and their potential suitors. Darcy and Bridget dance around each other for the rest of the film, repeatedly calling back to the awkward run in at the holiday party.

                    (The films title card)

Gender Expectations Translated Into a Modern Era

    In the film, Bridget is briefly seeing Daniel Cleaver, her boss in an arguably unprofessional work relationship. In the progression of Bridget and Daniel, Bridget states her concerns of what will her coworkers think or notice of their relations. Even when said in a joking manner this reveals Bridgets overarching thoughts about what other people will think of her raunchy endeavor with Cleaver. Although something steamy and fleeting like this does not exactly happen in Pride and Prejudice, the idea of being concerned of what other people think of their relations is still an apparent theme in the book. In the iconic Darcy and Elizabeth proposal scene in the book, Elizabeth chews out Darcy for blatantly insulting her family during this proposal. Family is everything to Elizabeth and this anger reveals her intense need to defend herself and her family to Darcy. Darcys justifying of his disdain of Wickham parallels the modern Darcys unapologetic dislike of Cleaver. 

    When Darcy admits his feelings for Bridget he is met with the same anger of Bridget being embarrassed by what the world expects of her as a woman in her 30s and how even when Darcy admits feelings he still insults her deeply. The theme of a man being kind, insulting, and then kind again to soften the blow of the insult is a theme that spans longer than Pride and Prejudice to its modern counterpart. A common theme in the film is Bridget being insulted and then brought up a bit, and then shut down again by work or life. This also runs in Pride and Prejudice when Elizabeth and her sisters are wooed by suitors, tragedy falls and then the cycle repeats. 

Conclusion

Womanhood can be described as very circular in older and modern works of literature and media. Bridget Jones's Diary and Pride and Prejudice are no different in this way. These stories simply replace balls and gowns for bars and miniskirts. Mothers will always be too invested in a daughters love life and people will always feel societal pressure. In a way its almost comforting to know these issues are timeless. Modern editions of a classic story can help a viewer/reader understand that some things never really change.

Works Cited

Austen, Jane. Pride and Prejudice. T. Egerton, Whitehall, 1813.

Bridget Jones's Diary. Directed by Sharon Maguire, Miramax House Entertainment, 2001.