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.

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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. 

From Bonnets to Blades: The Reimagination of Gender in Pride and Prejudice and Zombies

About the Film: 

Movie poster

Pride and Prejudice and Zombies is a film based on the 2009 parody novel by Seth Grahame-Smith. The film adapts the core plot of Pride and Prejudice by Jane Austen, with the addition of a zombie apocalypse. 

The film takes place in 19th-century England, where a zombie plague has caused millions of people to rise from the dead. To protect those in London, the Grand Barrier was constructed, a 100-foot wall surrounding the city. A Royal Canal was also dug, which is a deep moat surrounding the Grand Barrier with bridges that span the gap. The nobility believe the battle with the undead to be contained, but the opening of the film warns that, "...the ultimate battle between the living and the undead has yet to be staged" (Pride and Prejudice and Zombies 00:9:08). 

This film challenges traditional gender roles by portraying Elizabeth as a capable warrior, while also showing that the threat of their inheritance and social expectations make marriage important for their futures. Elizabeth's story suggests that marriage does not mean surrendering one's independence or identity. 

A summary of the events of the Zombie plague 

The Story of Elizabeth and Darcy

One of the biggest changes in this adaptation is the portrayal of Elizabeth Bennet. She is a skilled warrior who was trained in combat in China. She is independent and is more than capable of defending herself against zombies. Mr. Darcy, or Colonel Darcy, is a wealthy and proud man who is also a skilled zombie hunter trained in Japan. During the ball at Meryton, Mr. Darcy saves Liz from an undead who was going to attack her; this enrages her as she believes that she can take care of herself and doesn't need a man to fight for her. Her ability to defend herself is reinforced moments later when she and her sisters defeat the room full of zombies attacking the ball. When Mr. Darcy sees her fight, he becomes attracted to her dark eyes, strength, and fighting abilities. The scene challenges old-fashioned gender roles by first showing Elizabeth's anger at being rescued, then having her and her sisters fight for themselves rather than waiting for the men to take over. By defending one another, Elizabeth and her sisters show that they are capable of protecting themselves. 

Elizabeth fighting with her sword

Mr. Darcy (left) and Mr. Bingley (right) watching the Bennet sisters fight zombies 

 

Reframing Pride: Navigating Gender and Class in the 1995 Pride and Prejudice TV Adaptation

    When it comes to bringing the timeless Jane Austen's 1813 novel to the big screen, the 1995 British Broadcasting Corporation (BBC) six-part series starring Colin Firth as Fitzwilliam Darcy and Jennifer Ehle as Elizabeth Bennet serves as something of a gold standard for faithful theatrical adaptations of beloved classic novels. Set in the Regency era of England as the British Empire grows in power and strength, this story follows a spirited young woman, Elizabeth, and her tumultuous relationship with her enemy-turned-lover, Mr. Darcy, a man of extreme wealth and extravagance stemming from his estate further north in England. 

The cover of the 1995 BBC mini-series

    From the moment these two meet at the town ball, it is clear that this will not be a simple, straightforward relationship between them. The 1995 adaptation written by Andrew Davies does a superb job of preserving the narrative arc of Jane Austen's original work, which includes key components such as a notable wealth gap between Elizabeth, sometimes referred to as Lizzie, and Mr. Darcy, and the social pressures that drove women to marry out of economic consideration rather than emotional security during this time.

    However, this adaptation is more than just a faithful screen version of what many critics consider to be one of the greatest novels of all time. Beyond that, this six-part mini-series provides fascinating insight into societal norms regarding gender and class roles, as both overlap greatly during this time period. These norms include expected etiquette, financial factors, and securing a safe and stable home. 

Charlotte Lucas portrayed by Lucy Scott

    While some characters, such as Charlotte Lucas, choose marriage out of pragmatism as a strategic decision to ensure financial security, as was expected for many of the women in England during this time, Elizabeth rejects this notion, asserting her intellectual independence, as noted in the many passive-aggressive conversations between her and Mr. Darcy, which are virtually all of them.

Mr. Darcy proposes to Elizabeth

    The best example of this comes from Episode Three's proposal (starting at approximately 2:32:00). This scene is directed and acted out wonderfully. 

    During this scene, Colin Firth (Mr. Darcy)'s expressions, pacing around the room, and breathing do a great job of selling the anxiety that Mr. Darcy feels as he works up the courage to proceed with his proposal to Elizabeth. Despite the social norms of women being expected to accept the proposal of a man with such extravagant wealth and status as Mr. Darcy, Elizabeth does not accept his proposal. Instead, she responds with a sharp, venomous reply.

    Notably, the delivery of the lines perfectly complements the lines themselves. When he proposes, Mr. Darcy says that he has tried to suppress his emotions towards Elizabeth, and by proposing to her he is going against his friends, family, and, crucially, his own judgement because Elizabeth comes from a significantly less wealthy family, something of a violation of conventional social norms. Despite the difference, although he comes from a higher social class, he is completely ambushed and disarmed by Elizabeth's response.

    Ultimately, this 1995 BBC mini-series succeeds as a faithful adaptation of one of the most beloved romance novels of all time because it treats both main characters as equal narrative weights as intended, with the visuals, and especially the actors' performances, greatly enhancing Jane Austen's work. Throughout the story, Darcy is not simply on a quest to find love, but also on a journey towards a degree of humility that he attains by the end of the novel. During this, Elizabeth's intellectual autonomy is preserved even in the face of social pressures. By the end, the relationship between Mr. Darcy and Elizabeth is made out of mutual respect and admiration rather than one of strategy and pragmatism. The 1995 adaptation remains a golden standard for screen adaptations of classic novels.

Elizabeth and Mr. Darcy together

Works Cited

    Austen, Jane. Pride and Prejudice. Edited by James Kinsley, introduction by Christina Lupton, Oxford UP, 2020.

    Pride and Prejudice. Adapted by Andrew Davies, directed by Simon Langton, performances by Jennifer Ehle and Colin Firth, BBC / A&E Network, 1995.

Wet Shirts and Wounded Prides: Who's story is the 1995 Pride and Prejudice?

 Pride and Prejudice, 1995 TV miniseries, starring Jennifer Ehle & Colin Firth

    After watching the 1995 BBC miniseries the question I have is different: whose story is this? The story still takes place in Jane Austen's Regency England, which sticks closely to the novel's original plot, and the dialogue and period setting are also the same as in the novel. The main difference between the series and novel would be a creative difference. Andrew Davies and Simon Langton, the adaptor and director of the series, invented scenes where Darcy is being followed when he is away from Elizabeth, which didn't take place in the novel. In the series, we watch Darcy fence, ride, brood, and, of course, dive into lakes. None of those aspects are in the original novel by Jane Austen, because we are in Elizabeth's head then. Davies and Langton gave us a Darcy with a life, and for the time period, that made him a bigger romantic lead than what Jane Austen wrote. 

    With a choice like that, I think it helped to shape the two scenes I love most: the proposal (2:32:42) and the letter scenes (2:48:48). With the proposal, Jennifer Ehle's Elizabeth refuses to be flattered, and Colin Firth's Darcy gives his confession as though it's being dragged out of him against his will. This sets up some major irony because he thinks as though he's offering her a gift of some sort by proposing. Ehle's 

Darcy and Elizabeth during the (failed) proposal

Elizabeth answers back in fury, and that plays as a rare moment when a woman tells a wealthy man "no" and really means it. The letter scene plays out differently; Jane Austen gives Elizabeth the role of reader and judge, and the series gives Darcy's words back by having him do the voice over. For those few minutes, Darcy is narrating Elizabeth's mind, which shapes her opinions. It really is captivating. 

The famous lake scene

    

That brings me to the gender question, and in all honesty, I think the series is split. On one hand, the series is invested in Elizabeth's intelligence, and Ehle's performance keeps her witty, confident, stubborn, and impossible to patronize (the proposal scene makes that clear, 2:32:42). On the other hand, the series adaptation reflects the 1990s ideas about desire and masculinity in a way Austen's novel doesn't portray. The famous lake scene (3:24:00) puts a man's body on display for the audience's pleasure, which turns Darcy into an object worth gazing at, and along with that, as the scene plays out, Darcy becomes an object for Elizabeth to gaze at and feel a sort of desire for. That creative choice says more about the spectacle of a man's body than it does about Austen's Regency England. The romance aspect shifts after this point. The romance becomes less about Elizabeth and more about Darcy being softened by love. And in the end, we get the reward of seeing the two be married. 

    So, what does the series do for the audience? I would say that it explains why this version became the standard for every adaptation that followed it. The series allows viewers to have it both ways: a smart female lead that can be admired for her qualities and a man who goes from proud to humbled because of her. Personally, I really enjoyed the miniseries. I got the sense that both sides of gender were being played and I think that's what made me enjoy it more. Don't get me wrong, I love the Jane Austen novel, but I was very pleased to get more of a sense of who Darcy is in the series. So, to answer my own question of whose story is this, I think it's a well thought out and executed story of both of them, without one side being favored more than the other. I don't think the series makes Elizabeth less empowered, if anything, I think it makes her more empowered. I will admit that Darcy gets a whole lot of screen time in the series, but I still think it makes Elizabeth empowered. Giving Darcy an inner life doesn't shrink hers or make hers less important. It honestly raises the stakes. We as viewers see what she's turning down, and that makes the "no" hit a lot harder. But at the end of the day, Elizabeth set the terms. But either way, it's a version that plays to what the viewers wanted during the 1990s, and it was executed very well. 

Work Cited: 

Austen, Jane. Pride and Prejudice. 1813. Edited by James Kinsley, introduction and notes by Christina Lupton, Oxford UP, 2019.

Pride and Prejudice. Directed by Simon Langton, screenplay by Andrew Davies, performances by Jennifer Ehle and Colin Firth, BBC, 1995. YouTube, https://www.youtube.com/watch?v=K6tJzNh1TOk

Everyone's a Damsel, Everyone's a Knight: Gender Roles in Pride and Prejudice and Zombies

Pride and Prejudice and Zombies poster (figure 1)

A Classic Romance with a Zombie Twist

In the 2016 film Pride and Prejudice and Zombies, whose poster is shown in figure 1, Jane Austen's classic romance gets a rather unusual twist: zombies. The film is an adaptation of the 2009 parody novel of Pride and Prejudice that shares the name Pride and Prejudice and Zombies, making this film an adaptation of an adaptation. Set in Regency-era England, as in Jane Austen's original work, the story still follows Elizabeth Bennet and her sisters, but this time, as they navigate society's expectations, they do so while fighting to survive a zombie outbreak. Although the setting remains historical, the film presents its story to a modern audience. Elizabeth still meets Darcy, and their relationship develops much as it does in Austen's story, with plenty of misunderstandings, clashing personalities, and romantic tension. However, instead of simply attending balls and navigating courtship, the characters must also train to fight the undead. The result is a strange but entertaining combination of period romance, action, and horror. By 2016, when this was released, audiences were already familiar with female action heroes, and physically strong women skilled in fighting were already common in movies, as were zombies. Mixing a classic novel with two common movie premises of today makes the story feel more accessible and entertaining to modern audiences.

Ladies with Swords and Men Who Need Saving

The Bennet sisters fighting zombies (figure 2)

Unlike many traditional period romances, Pride and Prejudice and Zombies uses zombies as a device to portray women as capable fighters rather than people who must depend on men for protection. The military still exists and is composed of men, but the Bennet sisters, as shown in figure 2, and other female characters, like Lady Catherine, who is famous in the film for being a deadly swordswoman, receive combat training and actively fight zombies. As I watched the film, I counted how many zombies were killed by men and how many were killed by women. Though it is difficult to count the kills in scenes where multiple people fight at once and I could not determine an exact number, women clearly kill more zombies on screen than men do. This demonstrates the capability that the women in this story have and gives them an air of dominance over the men in this area. 

Elizabeth kills Darcy's flies (figure 3)

Further, Elizabeth is still as independent in this story as she is in Austen's novel, but her independence has a greater weight in this film. In Austen's novel, when she walks to Netherfield to see Jane, she does so regardless of appearance. In this film, however, a new level of boldness is added to this action because she walks through zombie-infested wilderness to get there despite Jane's earlier attack in the same wilderness—and Jane travels on horseback. Rather than allowing either social expectations or clear danger to prevent her from going, Elizabeth takes matters into her own hands and goes boldly forward to be with her sister. Once at Netherfield, as shown in figure 3, she undermines Darcy's methods by killing his flies that detect dead flesh to protect her sister, who Darcy fears might be infected by the zombie that attacked her. What might be even more interesting is that Darcy lets her do this. He makes no attempt to stop or scold her, letting her have the power in this scene. These scenes challenge the traditional gender roles of the period by presenting women as physically strong, resourceful, and capable of protecting themselves and others. 

Who Saves Whom?

Collins watches the Bennet sisters kill a zombie (figure 4)

The film specifically challenges traditional gender roles by allowing both men and women to be both protectors and damsels in distress. Darcy saves Elizabeth and Lydia among others, but Jane also has a moment where she saves Bingley, and Elizabeth has the scene where she saves Darcy. Interestingly, each time Darcy "saves" Elizabeth, she is not in immediate danger. He swoops in and kills the zombies before her, even though, having already proven her capabilities, she likely could have handled those situations on her own. However, when Elizabeth saves Darcy during the battle, he is in imminent need of help (as seen in the video below), showing that her role as a protector might be even more necessary in this film than Darcy's. Rather than portraying women as helpless damsels waiting for men to come and save them, the film allows its characters to depend on one another. Elizabeth can fight for herself and save others, but she can also accept help when she needs it. Likewise, Darcy's strength as a fighter does not mean he is always the one doing the rescuing. Some women are even outright recognized as amazing warriors, like Lady Catherine. Other men, like Mr. Collins, show a certain amount of cowardice, as he literally lets the Bennet sisters handle the threat while he hides behind a tree, which can be seen in figure 4. He then proceeds to not help Elizabeth carry any of the weapons. Within this film, bravery and vulnerability are not exclusive to either gender. For modern audiences, this reversal challenges the still-present image of a man as the permanent protector and a woman as the one who needs saving. Instead, the film suggests that both partners can be strong, which appeals to many modern audiences who seek equality.

Strong Fighters, Traditional Expectations

Darcy and Elizabeth's and Bingley and Jane's wedding (figure 5)

Although Pride and Prejudice and Zombies challenges traditional gender roles, it does not completely abandon the expectations of its historical setting. Marriage, courtship, and social classes still play important roles in the story, and the characters must navigate many of the social pressures that appear in Austen's original novel. Women are still expected to marry, often giving up their warrior skills when they do so. As Mr. Collins suggests in his proposal to Elizabeth, he will "of course" require her to give up her skills as a warrior if they wed, suggesting that, following marriage, women are to adhere to more traditional gendered roles. Even so, some women, like Charlotte, actively think about marriage, but as the Bennet sisters show, women have the freedom to wield swords, fight zombies, and make decisions for themselves while still pursuing a romance. Interestingly enough, in terms of violence committed on screen, more male zombies are shown to be violent than the female zombies. Although female zombies are implied to be violent, as when Jane gets attacked offscreen, their violence is rarely shown, suggesting that traditional gender roles persist even among zombies. Further, the dual wedding at the end, as shown in figure 5, differs from Austen's tale and brings the traditional plot of marriage front and center. Even in a story where women are given greater physical independence, gender still has some influence on how characters and events are portrayed.

Differing from Austen's own story, the character of Elizabeth in this film is also far more emotional. She is confident and deadly, but she also is deeply hurt by Darcy's comments at the ball, and she lashes out at him in anger, and cries following their fight. She is still bold and sharp, but this adaptation makes the choice to include a more sensitive and less composed Elizabeth than Austen's original novel, adding a female stereotype that is not previously part of Elizabeth's character. However, at the same time, the film challenges the very stereotype it brings in, as Darcy notes that for a young lady to be accomplished by his standards, she must both be astute in the "female arts" and be deadly. While excluding deadliness from the "female arts" seems to suggest that deadliness is not associated with females, making it an expectation for them suggests otherwise. Even so, traditional gender roles are heavily implied, though modified for even greater expectations on behalf of women, and the more emotional changes give modern audiences the clear emotional moments that many viewers look for, and adding the fulfilled marriages to the story gives modern viewers the sense of romantic fulfillment that has become an expectation in modern film and television even while adding the entertainment that is slaying zombies.

Conclusion

Darcy and Elizabeth's fight (figure 6)

Ultimately, Pride and Prejudice and Zombies takes a familiar romance and gives its characters a chance to challenge traditional gender roles while fighting zombies. The women are more than damsels in distress, and the men are not always the knights who come to save them. Elizabeth can fight for herself and save Darcy, just as Darcy can fight for himself and save Elizabeth, and the fight between them, shown in figure 6, demonstrates how evenly matched they are in more than just matters of the mind. Both strength and vulnerability are shared among characters rather than belonging to one gender. Although the film holds tight to some of the traditional expectations around courtship and marriage, it offers a different idea of what men and women are capable of doing. After all, being a hero does not mean never needing help. Sometimes, everyone gets to be the knight, and everyone gets to be the damsel.