Film Analysis - Pride and Prejudice (2005)

An Overview

Interestingly, when analysing a Period Drama, it is notable to mention the stories origins, themes and motifs. Pride and Prejudice is the second book published by Jane Austen in 1813 and is a romantic-realist novel that focuses on the tribulations of the relations between Elizabeth Bennet and Mr Darcy with focus upon the entire Bennet family as a subplot. Key themes focus mainly on conventions of marriage in aspect of class and wealth, gender, knowledge and ‘staying true’ to oneself in the face of moral dilemmas. 

These are all driven by the early 19^th Century society that expects woman to marry for monetary gain, as they cannot work on their own accord, and, in turn, expects men to marry for the sake of happiness. These themes can be best summarised by the books opening:

“It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife”

Knowledge of such themes is important as it allows us to analyse directorial decisions by Joe Wright more clearly and have a greater understanding of the work as a collective. 

Camera Shots

• The Two-Shot

It is relevant to note that although a two-shot can vary from a close-up, to a medium-long or a long, the two-shot within this film is usually always used to emphasize the romantic entanglement and feelings between the two main characters. Such a use of this shot instead of an over-the-shoulder shot is interesting as it gives the audience a more equal representation of both characters whilst giving a more traditional sense of romance. 

• The Over-the-shoulder Shot

This shot is used in this film during most conversations as it is a good way to allow the viewer to see a characters facial expression which is often a way good device in order to display emotions and reactions. Such detailed use of camera shots are important when the dialogue of the film is moving fast, in order to keep the viewer aware. Not only this, but the over-the-shoulder shot allows the viewer to feel even more engaged and submerged into the presented narrative.

• Long Shots / Establishing Shots

     

Interestingly, the establishing and long shots within this film are usually used simultaneously as one-shots. This is to place emphasis on the amount of space within the shot but also to place emotions within the rural setting. The beauty of the countryside is also given pride and place as the foreground of the shots in order to give an organic feel to the narrative. The weather within the composition of these shots also gives the viewer hints on how they should be feeling. 

• Proxemics

Although the use of proxemics is not technically a camera shot, the placement of characters contributes so much to the period drama's camera shots - it is hard to avoid a discussion on it. To use the picture above as an example:

        - The men within the frame are standing near the background, out of social courtesy but 
          also because the relations of the females within this scene is more important. 
        - Elizabeth Bennett (far left) is placed separately from her family and is given a lone spot
          on the sofa to display she feels differently from her family members but also perhaps to 
          signify the independence of her womanhood (as she wishes not to marry). 
        - Bingley's sister is given almost-central position within the frame and room to infer she 
          is of a higher social class and is thus given importance over the other females. Her 
          posture can also imply this. 

• Character as subject

One notable thing I have found when analyzing this film, is that main characters are always given prime position within a frame and are usually always tracked - in order to keep them as the centre of attention. This is especially important in crowd scenes when the viewer can easily be distracted by other goings-on. 

Sound

• The soundtrack to this film is mainly an accompaniment and enhancement to the emotion of the scene with a contextually relevant use of score – involving time relevant tendencies. As the book was published in 1813, Dario Marianelli uses a majorly piano based score. This is because a single piano melody allows a simplistic yet complex sound which allows the viewer to focus on the dialogue within scenes but can still allow their emotions to be directed by the score. Essentially, Marianelli allows his music to work with the dialogue whilst both enhancing but not dictating the scene.

• In continuation, a single – slightly rough piano score – can be connotative of many things. Whether these be to represent an independent Elizabeth Bennett or a lonely Elizabeth Bennett changes throughout the film but the fact the sound is slightly rough (as certain notes played are out of tune – especially in the films establishing first scenes), for me, implies rural living that is not classically perfect yet still beautiful.

• Interestingly, some sections of music are repeated, or looped. For example, the music used in the first scene of this film is used several times at key life events but also as a sound bridge. This can be to show the progression of time whilst the continuation of the emotions of our protagonist. A key moment when such a moment is used is when Georgina (Darcy’s sister) plays this piece of music, as diegetic sound, to signify that although Elizabeth is not at home because Darcy is here, she feels at home.

• With all of this in mind, Joe Wright occasionally cuts off music accompaniment entirely. This tend to be in key, emotionally driven scenes that will affect the plot of the narrative significantly. Such choices allow the viewer to focus on the dialogue entirely - which will not only connect them to characters more, but also develop the viewers understanding of the story.

Editing

• The style of editing that is most used in Pride and Prejudice is continuity editing (invisible editing). This involves cuts that are practically seamless to allow the viewer to feel as engaged and submerged into the world of the drama as possible. This is because the period drama emphasises realism, Pride and Prejudice is after all a realist novel, and believability of the story is crucial.

• Shot-reverse-shot is also a popular editing technique. This is normally used in important conversations, like those of Elizabeth and Darcy, to allow the viewer to see the reaction of what is said and how they are feeling. Such a decision is usually made when dealing with a close-up one shot.

• Within this film, the editor also uses a considerable amount of master shots. This allows the editing to seem more flawless, but also to remind the reader of certain themes or to feel more affiliated with certain characters. Notably in many romantic exchanges, the master shot will be a mid-two-shot that emphasises the proxemics within the frame, to relay more about the characters relations. A master shot is also used at dinner table and crowd scenes within the film to denote a sense of place and environment.  

• The dissolve or fade as a transition is also seemingly popular within this film. After important scenes or events, once a sense of peace or end has been restored, the frame will dissolve or fade and work in harmony with a sound bridge to transport the viewer to the next section of narrative. As is with many editing styles of the period drama, this is subtle in order to not jar the story telling nature or to disturb the viewers’ emotional connection or interest.

• Joe Wright also uses the screen direction importantly; as I discussed earlier in the ‘Camera Shots’ section, many shots in conversation can be static and do not track as there is no movement within the scene. However, when the camera is tracking, the editing (more often than not) will follow the subject within the frame and all editing choices focus on keeping our attention and connection with such characters.     

Mise-en-scene

• It is reasonable to argue that most of what makes Pride and Prejudice (2005) successful is the effective use of mise-en-scene within frames. Perhaps most important is the costume of characters. Not only should this denote time and place, it should also denote class;

• On the female Bennetts, the costume designer Jacqueline Durran usually uses a simple silhouette and earthy colours, like beige and greens and browns, with an abundant amount cotton in order to have connotations of simple country life and perhaps a lack of financial prosperity. The other females in the film, like Bingley’s sister, have more shaped or exaggerated silhouettes with more gaudy colours like purple or yellow on more expensive or well-treated fabrics to signify social and financial prosperity.  

• The costumes on the men in the film can also contribute a considerable amount to the mise-en-scene. There are of course more obvious choices, like placing Mr Wickham in a soldiers’ uniform, that allow the viewer to get a sense of character but, like many aspects of this film, the most interesting of choices are the subtle ones. As men’s fashion within this century between the classes was similar, class is once again denoted by colour and materials. However, the style of the costume is telling. For example, if a man has his jacket off we can infer that he is within comfortable company or is in a relaxed setting – this can also be inferred from the style of hat and if the hat is worn. This is once again when all choices made must be contextually accurate and fitting to the diegesis presented.

• The mise-en-scene of the setting chosen or location scouted is vital for frame composition. Not only must the setting be contextually accurate (no telephone lines, modern houses, trains or car sounds) but the setting should display emotions within the scene. In one notable scene, the setting of a large feudal house in a drawing room lends itself to be the perfect backdrop for cold exchanges. In combination with this, the mise-en-scene of proxemics within scenes must work coherently with the setting and dialogue. 

Particulars

• In another notable scene (above), during an apparent referendum of Elizabeth’s and Darcy’s relations, it is raining heavily; such a cinematic techniques can imply so many things within a scene, but I feel Joe Wright uses the rain to display the violent and extreme emotions that are felt. On one hand happiness should be felt as this is, after all, a proposal but on the other hand this man is also responsible for the unhappiness of her sisters – hence the conflict in the weather. Furthermore, it can be considered to be a beautiful cliché within filmography to have a romantic scene within the rain which causes the scene to be that bit more enticing and tragic.   

Within this scene a number of earlier discussed techniques are used - like:

• Over the shoulder Shots
• Medium close-ups and close-ups
• Shot-reverse-shot / Reaction Shot
• A lack of musical score that is replaced by exaggerated sound of rain (diegetic) due to an emphasis on dialogue
• Shots that allow for the background to be seen (the countryside and rain)
• Dark, earthy colours of composition of frame to reflect the mood of the characters

Interesting choices made within this scene:

• The use of proxemics to display our characters inner conflict with themselves, their sexuality and their moral dilemmas. The closure of space at 1:50 signifies an increase of tension due to a deeper innate conflict and the even more intense lean taken by Mr Darcy at 2:35 displays self-restriction as both characters clearly want to embrace. Such physical choices are important as it implies to the viewer that the romance is not over as, though they are parting on bad terms, they still both have a sexual and emotional desire for each other.

• Pace also plays a key part in this exchange. It is noticeable that the scene seems to build in pace, and tension, to then drop back to its original state; this is mainly done through the pace of dialogue - but editing also plays a pivotal role. At around 2:00, as the characters grow more angry and frustrated, the editing becomes quicker. Though it is still subtle and still comes under continuity editing (invisible editing), it still plays a key role in the scenes pace and thus the emotion within the scene.