Austenian: The Introduction

For a while, some family members and I were watching Dickensian, a murder mystery/soap opera which bills itself as a sort of joint prequel to Christmas Carol, Oliver Twist, Bleak House, and Great Expectations, with some characters from Our Mutual Friend, Old Curiosity Shop, and a couple of other novels putting in appearances. We persevered (with a bit of fast-forward) through the creepiness of the (soon to murdered) Jacob Marley,(1) a random nude scene with Compeyson,(2), a random bedroom scene with Compeyson and a woman claiming to be his wife, aaaaand, a random dog-killing, also committed by Compeyson. It was at this point that the second season of Andor started and we dropped Dickensian. There was an awkward moment where we were talking about Andor and calling Anton Lesser “Commander Fagin” because we could not for the life of us remember his Star Wars name, and didn’t care enough to look it up.

At any rate, one of the things which struck me strongly about Dickensian

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Sense and Sensibility 2026? Wut?

(Note: a previous version of this post assumed screenwriter Diana Reid was the TV director from Handmaid’s Tale. It appears screenwriter Diana Reid is instead the novelist of that name. This post has been revised accordingly.)

Daisy Edgar-Jones, whom some people were hyping as a potential Lizzie Bennet in the Netflix Pride and Prejudice before Emma Corrin got the role, has been cast as Elinor in a new S&S adaptation.

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Minireviews of Sense and Sensibility Adaptations

Note on Margaret Dashwood: in the book, she’s Marianne’s teenaged (but not “out”) sidekick and echo, sort of a Kitty Bennet analogue. She blabs two different secrets of her sisters (“his name begins with an F!” and “he took a lock of her hair!”), accompanies Marianne on the outing where she twists her ankle and meets Willoughby, keeps Mrs. Dashwood company after Christmas while Elinor and Marianne are in London, and by the time of Marianne’s marriage has reached an age for dancing and courting and providing fodder for the romantic speculations of Sir John Middleton and Mrs. Jennings. She is a very underdeveloped character in the book; nothing like the obnoxiously cute wittle moppets of S&S 1995, Kandukondein Kandukondein, or S&S 2008. People who whine about her being left out of the older TV versions are really just pining for the version Emma Thompson wrote for S&S 1995, and showing their ignorance of the novel in the process.

Some Jane Austen novels were popular enough to see tv adaptations very early on, which were not preserved for posterity: Pride and Prejudice, Emma, Persuasion. Some were so (comparatively) uninteresting to the TV/movie-viewing public that people only started adapting them in the 1980s (Mansfield Park, Northanger Abbey). And then you have Sense and Sensibility, which was studiously ignored by the adaptors(1) until 1971, at the dawn of proper TV archiving, and then received a positive torrent of adaptations and modernizations that have continued at the rate of one or two a decade down to the present. Here are my thoughts on the ones I’m aware of. If I don’t say it’s a miniseries, assume it’s movie length (two hours ish) or tv movie length.

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Gee, Thanks, You BBC Turkeys

Not content with trying to create a miniseries about Mary Bennet, the virtue-signaling Regency hipster beloved by virtue-signaling modern-day hipsters everywhere who think that Jane Austen was soooo mean to their alter ego, the makers have cast Richard E. Grant as Mr. Bennet. I have no particular beef with Mr. Grant, although to judge by the clips I’ve seen, his take on Sir Walter Elliot in Netflix Persuasion would have benefited from a bit more of the silly fop schtick he brought to the Scarlet Pimpernel. And yes, it’s a bit disheartening to think that in The Other Bennet Sister he may once again be called upon to play a humorously absurd and irresponsible Jane Austen dad character as a generic jerk.

More importantly from my point of view, he put in an appearance as a minor baddie in Star Wars: Rise of Skywalker, which is just a teensy bit inconvenient

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Friday Fragments

From the space regency: this is a catchy line, but I decided it didn’t really work for the flow of the conversation or Elizabeth’s character:

“I’m not really very good at reels,” Elizabeth said. “Or at least I play them better than I dance them.”

From the Hunter Healer King book; something like this is in the current draft, but the information flows differently:

“There’s a whole cluster of pictures of them,” Carl said. He pointed to a group which mostly showed They came in various sizes, from low-slung and barely six inches tall to very good-sized examples. Many of them were black with tan masks and tan feet. The centerpiece was a portrait of Countess von Altenberg, whom I had met the night before. She wore a long white dress and at her feet held two standing dogs on a sort of split leash.

So…Netflix Pride and Prejudice

I’m not going to be posting a great deal about this project, because my only relative with a Netflix account is a 1990s purist when it comes to Jane Austen adaptations, so it’s not like I’m going to be able to watch this with her anywhere near the time of release. Disclaimer: I tend to be pretty broad-minded about P&P adaptations; I think the 1980 miniseries is the one to beat for humor, and the 1995 miniseries is the one to beat for romance, but the other versions out there have specific virtues of their own, like 2005’s Assembly Ball, 1967’s Kitty Bennet, 1941’s archery scene, and the Italian and Dutch versions of Darcy arranging Lydia’s marriage.

So, mostly, I’m open-minded but kind of meh….

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Weird Wednesday: Adapting Persuasion

I have only just started listening to this as an audiobook after reading it some years ago, so this will be only one post. In light of the fact that the version we have was completed shortly before Jane Austen’s death, and is significantly shorter than the novels published in her lifetime, I think it’s reasonable to imagine that she would have expanded it in size and complexity if she’d had time, and plugged some plot holes along the way. This makes me feel comfortable with tweaking the fates and agendas of several of the supporting characters. Also, any miniseries-length adaptation needs fun, non-repetitive little bits of Anne hanging out with Benwick, and the Musgroves and Harvilles and so on.

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Angry All Over Again

I just realized that the morons who claim Mr. Price (the heroine’s biological father in Mansfield Park(1)) is some kind of daughter molesting pervert got the idea from the 1999 film, and now I’m angry at that bleep of a filmmaker all over again.

Just remember people, if you go around claiming Price is an incestuous pervert, and Sir Thomas is indisputably a large-scale, highly sadistic slaveholder(2) you are doing the same thing as the people who think Darcy’s uncle is the Earl of Matlock and Lizzy’s mother is named Fanny, and those blankity-blanks who think that Elrond is a bitter, bullying hater of mortals and Saruman is Extra Strength Dracula and Gandalf is Dumbledore and Denethor is a gluttonous slob. You are confusing the adaptations, however good or interesting they are, with the source material.

(1)In the book, Price is a drunken, lazy and uncouth man who makes occasional “coarse” (according to raised-by-posh-wolves Fanny) remarks about Fanny’s looks and potential boyfriends, of which the only comment actually quoted to the reader sounds like something Mrs. Jennings from Sense and Sensibility would say. Not a good guy but pretty inoffensive compared to the likes of General Tilney from Northanger Abbey.

(2)Sir Thomas’ Antigua holdings mean that he’s implicated in a slave-based economy to at least some extent, but there were in fact properties in that part of the world – lumber plantations for instance – which used paid freemen for labor rather than slaves. There’s absolutely nothing in the book to indicate which kind of labor his Antigua property runs on, and some indications – abolitionist-reading Edmund’s framing of the offscene conversation between abolitionist-reading Fanny and Sir Thomas about the slave trade – which make it seem like Sir Thomas is not necessarily all that comfortable with slavery. It’s not objectively wrong to make Sir Thomas an evil slave-torturing so-and-so in adaptation. But nothing makes it an inherently superior interpretation of the book, or even an interpretation of the book more soothing to modern consciences, than the alternatives. The book says so little about his activities in Antibes that you could just as easily imagine him as being repelled by the horrors of slavery when he sees them up close, and then spending all that time in Antibes trying to manumit slaves from his hypothetical sugar plantation or trying to divest himself of his hypothetical lumber plantation because even though he’s not using slaves himself, he can’t bear to do business with the slave-owners.