Discuss the differences between the accepted courting behavior outlined in the Austen novels and that shown in the film adaptations (see discussion in Helpful Background section above). Which do you think is the better way to resolve this dilemma, the one proposed by Austen in which honor would have required Ferrars to marry a woman he did not love or the modern solution in which Lucy Steele (had she remained true to Edward) would have had her feelings badly hurt?ģ. Was the Edward Ferrars character acting foolishly when he was prepared to honor his promise to Miss Steele despite the fact that he was in love with Elinor? In the modern view, Ferrars would simply have terminated the engagement, proposed to Elinor and there would have been no novel and no film. Should Willoughby have permitted his need for money to triumph over his love for Marianne? Was he acting with “sense” when he did this? Or was it mere cupidity?Ģ. In the modern day version of these characters, it is clear that “sensibility” has triumphed over the “sense” that Austen sought to champion.ġ. Masculine emotionality is at odds with Austen’s own critique of sensibility. See expanded discussion in Learning Guide to “Pride and Prejudice”. While the film adaptations of Austen’s novels reject Austen’s view of the way men should act when courting, these changes may provoke interesting discussions with children concerning how courtship rituals and expectations for behavior change over time. Their appearance in the film would have prevented moviegoers from identifying with the male characters in the story. However, repressed males are not respected by modern mass audiences. Her male characters were emotionally undemonstrative.

Each of these scenes show emotionality in a male character that is missing from the book.Īusten’s novels were a conservative reaction against the romantic literature of the early 1800s. Edward Ferrars’ friendship with Elinor’s younger sister, Margaret, is also an invention for the film, as are Ferrars’ several unsuccessful and emotionally tumultuous attempts to explain himself to Elinor. Dashwood to Marianne’s sickbed, and later dramatically reads poetry to Marianne, all were added by the screenwriter and do not appear in the novel. For example, the scenes in which Colonel Brandon rescues Marianne, makes gifts of the pianoforte and the flowers, embarks on an emergency mission to bring Mrs.

The screenplay for the movie gives the male characters added color and dimension by inserting scenes not found in the book.

FICTION (SOAPS, DRAMAS, AND REALITY/SURVIVAL SHOW).

FILM ADAPTATIONS OF NOVELS, SHORT STORIES, OR PLAYS.

TALKING AND PLAYING WITH MOVIES: AGES 3-8.

Pride and prejudice emma thompson