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.