Compare and Contrast Pride and Prejudice
Is it possible for a film to show an audience the internal tensions between two potential lovers? Or do the details of the script, sets, costumes and cinematography block the view? For example, look at Jane Austen 's classic love story "Pride and Prejudice" as told in two very different films. While both versions correctly tell the tale of love winning out over one girl 's selfish conceit and opinionated judgments, Simon Langton 's A&E miniseries holds true in every way to the depth of the story, while Joe Wright 's 2005 feature film dances over only the popularly known highlights. The resulting views of the story and romantic tension are, of course, completely different!
Rarely in Hollywood is the filmwright known to follow an author 's original meaning or intent. Thus the filmwright 's job in any film is to create a solid foundation so the director can do whatever he or she pleases with the rest. In this assignment, both filmwright 's perform their duties perfectly - a story is told. Debra Mogach, filmwright for the 2005 version, loses miles of depth in the personalities of all the key characters and even many of the minor ones. It is lucky for her that she got help from Emma Thompson with some of the dialogue or we probably wouldn 't hear a single line from the original text! Langston 's writer, Andrew Davies, on the other hand, stays very true to the original book: both in the highlights of the story and in the depth of the characters. Because of his attention to Austin 's development of each "cast" member, the audience is drawn deeply into many of the characters ' internal lives. And that is how it 's supposed to work: the many details of the characters ' personalities are supposed to be portrayed in the script as well as in every other aspect of a film.
After the director has accepted his script and somewhere during casting, the sets must be chosen. In the case of these films the "sets" are on location: several places in the UK. You would think that
Rarely in Hollywood is the filmwright known to follow an author 's original meaning or intent. Thus the filmwright 's job in any film is to create a solid foundation so the director can do whatever he or she pleases with the rest. In this assignment, both filmwright 's perform their duties perfectly - a story is told. Debra Mogach, filmwright for the 2005 version, loses miles of depth in the personalities of all the key characters and even many of the minor ones. It is lucky for her that she got help from Emma Thompson with some of the dialogue or we probably wouldn 't hear a single line from the original text! Langston 's writer, Andrew Davies, on the other hand, stays very true to the original book: both in the highlights of the story and in the depth of the characters. Because of his attention to Austin 's development of each "cast" member, the audience is drawn deeply into many of the characters ' internal lives. And that is how it 's supposed to work: the many details of the characters ' personalities are supposed to be portrayed in the script as well as in every other aspect of a film.
After the director has accepted his script and somewhere during casting, the sets must be chosen. In the case of these films the "sets" are on location: several places in the UK. You would think that