Joe Wright über P&P, von
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Zitat:
However, it's not true to say as so many have, that Madfadyen is a Heathcliff. This is the result of not respecting an thus not paying close attention the film for what it is and then comparing it to the novel. What I've just done for several days. (This is an important film and it influenced the Austen films after it was screened and distributed widely because it was a popular box office success.) Yes in archetype Macfadyen is the tall dark inscrutable desirable hero -- and *so are both Darcy and Heathcliff*. Macfayden is a fine actor and if he has not read the novel, he has understood that there is a problem in the presentation of Darcy's character, and unlike all previous Darcy's his whole performance is calculated on showing us Darcy not so much arrogant as not comfortable in social life (Aspergers anyone?) and over the course of the movie, beginning before he and Elizabeth meet at Rosings, slowing expressing his problem to Elizabeth. In an interview in the feature, Macfadyen said he thought of Darcy as a shy man, someone not eager for social life (that's why he danced only when he must), not good at it -- as he tells Elizabeth at Rosings by the piano.
Zitat:
Austen's book is not perfect! Among the problems (probably caused by that lopping and chopping) is the Darcy we see at Pemberley and afterwards is not the same man as the arrogant cold aristocrat of the scene at the Assembly hall, and we are given no sense of how the evolution happened. Macfadyen plays the character so that the two parts cohere -- he's a good actor and is wonderful as Arthur Clenham in Little Dorrit and Felix Carbury in The Way We Live Now -- two very different types of males. Macfayden's typology is like Ralph Fiennes, usually that of a man who is sensitive.
Zitat:
She (Keira) is good at resentment, at anger, at rigidity and holding her own, say against Judi Dench as Lady Catherine. Against Macfadyen's intelligence and real humility at points, she comes out so smug, I found myself preferring him. That's a perverse reaction to a movie which like the 1979 makes Elizabeth's subjectivity our central concern.