Pride And Prejudice review

The most important thing to remember while watching Joe Wright's 2005 version of Jane Austen's much-loved novel is that it is Joe Wright's 2005 version - and most definitely not the TV series that so dominated Sunday evening viewing in the mid 1990s. This latest update is its own beast, without the long hours of the TV series that allowed for a greater depth of story-telling. And while the film is certainly a brisk affair - even two hours hardly seems long enough to cram in all of Austen's plot twists and nuances - it's also a bona fide success: gloriously filmed, impeccably acted and yes, likely to make even the meanest curmudgeon feel a stirring in the heart.

The story is arguably so familiar now that it hardly bears lengthy repeating: suffice to say that the headstrong Lizzie Bennett (Knightley) is exasperated by the sullen Darcy (Matthew Macfadyen), and any relationship seems unlikely as events conspire to drive the couple apart. Despite a script that zips through the key moments, Wright is however aware enough to place this seemingly-doomed relationship in perspective, and the social context of the woman's difficult and prescribed situation is never forgotten.

Matching Deborah Moggach's excellent script (like Wright this is her feature debut) is Roman Osin's luscious cinematography, both for the complex dance scenes and the glorious external shots. This is peopled by a top notch cast: Brenda Blethyn reminds us just why she is one of our best actresses, Donald Sutherland makes a warm and humorous father and Tom Hollander threatens to steal the show as the odious Mr Collins.

But what everyone wants to know is how good the two leads are. In Knightley and Macfadyen we have a completely believable Lizzie and Darcy. Knightley is initially a coquettish imp whose head very much rules her heart and Macfadyen redefines the word miserable. Yet as the film progresses we fall for both of these characters as much as they fall for each other. In their short careers this film already presents a highlight for both of them and by the time they finally come to realise what everyone already knows it's definitely hard to keep a lump from the throat.

The measure of the success of the film may well be in increased book sales for Austen as it encourages the audience to go away and find out more. Working Title have made a rare foray into period drama (even the late great partnership of Merchant Ivory failed to pull off their Austen film successfully), but this is no Notting Hill in old-fashioned costume. Instead it's an intelligent, funny, emotional, thought-provoking and above all British success. Men may well be advised to bring two tissues: one for their partners, and one for themselves.

Paul Hurley