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The only portrait I ever saw of Jane Austen appears on countless spines of the New Library edition of “Pride and Prejudice.” Drawn by her sister Cassandra, Jane looks, well, like one would request the witty Miss Austen to look: poised, civilized, reflective and quick-witted. With some imagination and forgiveness with regard to the talent of the artist, she could even be conceived as glorious with her stout dusky eyes and ringlet fringe peeking out from the typical gentlewoman’s cap of that time period. How ingenious for Hollywood to cast the sumptuous Anne Hathaway with her silky brown hair, curvaceous figure, deer-in-the-headlights eyes and perfect lips as the young burgeoning author? Let’s face it—no one wants to be a insensible Jane – and expressionless she is not–she’s pleasing noteworthy got it all: not only is she innocently fine, she’s independent, wants to work, exhibits impeccable manners, loves her family, acts upon reliable ideals all of which along with her cricket skills results in attracting and snaring the deliciously boyish James McAvoy ( Last King of Scotland) as supposed ill-fated lover, Tom Lefroy.
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As a film, all of this romanticism works wonderfully. The verdant countryside shimmers in the sunshine. The period clothing—all empire waists, beribboned hair, top hats and velvet frockcoats—-sway and rustle delightfully as the couples dance and assure in clever well-mannered innuendo as expectant matchmaking parents play chaperone and discover lucrative alliances that will status their children up for life. The dialogue sufficiently reflects that Austenian repartee which the educated audience delights in as it makes them feel they are on an even keel with one of the greatest satirists in the English language. The concept of Austin’s relationship with Lefroy as presented first in Jon Spence’s biography from which the film gets its name, suggests that many of Austin’s dream partnerships as presented in her novels were based on steady, personal and emotional incidents that although painful, gave her characters so grand flesh and blood poignancy, we serene discuss them today.
Whether or not any of this is actually apt matters naught. The film seduces with the same charming intensity of McAvoy’s blue-eyed gape as he quite openly undresses Hathaway in his mind. Is Lefroy the basis for Mr. Darcy? This is difficult to say, but I wouldn’t mind bumping into this film’s Tom Lefroy while I was taking my daily constitutional. Of course, I’d have to go relieve in time to become a few years younger—or perhaps not as flirty cousin Eliza de Feuillide certainly does have her arrangement with Jane’s rakish brother, Henry Austen (Joe Anderson) —oh, what money can catch!
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With that in mind, leave the historical authenticity to the Austen scholars and indulge in the film for its performances and its visual delights. Secondary players congregate to create a veritable Austen menagerie of characters that for the most allotment plays a bit too conveniently to deem reality. But capture it all in fun —the film leads one to enjoy that Austen needed runt imagination to conceptualize her personalities; rather they were all there under her nose, objective waiting to be captured on paper. Nevertheless, Maggie Smith as the formidable Lady Gresham never fails to elicit a chuckle as does her fictional counterpart Lady Catherine de Bourgh from “Pride and Prejudice.” Julie Walters and James Cromwell as Jane’s parents seem the perfect Mr. and Mrs Bennett clones while Laurence Fox, as Mr. Wisley (Mr. Collins again from “Pride and Prejudice”) interjects fair the proper 21st century computer geek persona to the mix to act the perfect foil for the more glamorous but definitely shallower Tom Lefroy character.
Bottom line: After countless Masterpiece Theatre adaptations of all six of Jane Austen’s novels as well as a herd of current films plot to accepted music (Bride and Prejudice was one Bollywood version) it is not surprising that the author herself has arrive into scrutiny in this charming albeit fictionalized biopic. If you are not tired of yet another Darcy/Bennett rendition, you will most likely bag “Becoming Jane” two hours worth of Jane Austen’s world lovingly preserved. Recommended.
Diana Faillace Von Behren
“reneofc”
The DVD for this movie will be coming out Feb 12, 2008 and will feature deleted scenes, commentary with director Julian Jarrold, writer Kevin Hood and producer Robert Bernstein, becoming Jane Pop-Up Facts & Footnotes(ok, this is enough to accomplish me want to capture it) and a Discovering the Genuine Jane Austen featurette
The actors were fabulous in this movie and it was well staged. The movie is supposed to be based on a few months of Jane’s life when she was 20. H Some scenes were added to fabricate her life more dramatic. There isn’t very many facts known about Jane so any biographical movie about her will occupy fiction, but I consider what most people criticized about this film is it borrows too noteworthy from Pride & Prejudice.
The facts about Jane are she was a witty and curious person. We know this from her letters and her writings. She was sort of a tomboy when she was young and played baseball and cricket. She had a radiant and adventurous brother named Henry who helped publish two of her novels after her death. He did marry their cousin. Tom Lefroy was a person she knew and she did flirt with him when she was 20. Many years later he said he did savor Jane but it was a “boyish fancy”. His first daughter was named Jane. When she was 27 she was proposed to by a weathly but awkward man named Harry Bigg-Whithers, who she at first approved but changed her mind the next day.
For people with children, there is some brief nudity (male backsides), some women that appear to be prostitutes, fist fighting and some suggestive language.
Other people have criticized this movie because they search for it as another plot to cash in on Jane Austen’s popularity. I feel that the film does try to shed a dinky light on her accurate personality.
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