Pride And Prejudice [1980] [Dutch Import]

Bag this one before it disappears off the shelf and is forgotten, eclipsed by the industry surrounding tenth anniversaries and special editions and Colin Firth.

All praise must go to the Dutch distributors of this very English, very BBC Classic production. It was made in the late 1970s, and it's far and away the best and most faithful adaptation to date of a glorious book. (Don't be put off by the fact that the dvd is from Holland. If anything, ask why the BBC leaves it to the Dutch to issue this delightful set!)

You will know from my other reviews that I have a very soft spot for 'classic serials' - especially the slightly older ones. They seldom try to be what they aren't. They are marvellous pieces of telly, and this one is high on my list of all-time favourites. I also have a soft spot for series that are faithful to their originals and the intentions of the author.

Don't get me wrong - the later version with Colin Firth/Jennifer Ehle is a joyous production, and has achieved iconic status - not least because of the excellent central performances - BUT the adaptation took a few famous liberties, making it in places rather more Georgette Heyer or Catherine Cookson than Jane Austen.

We all know about the drenching of Darcy as he dives head first into a lake at Pemberley to cool his ardour - well, it works in the context of THAT later series, simply because the thing as a whole has a charm of its own and a delicious chemistry that makes you forgive a huge amount ... BUT, Miss Austen would not have written it - even though there are probably many people who now believe she did. (I include among their number the flagrantly ignorant TV critic who trilled over this 'latest Jane Austen bodice-ripper'!)

We need to be careful when we describe Andrew Davies' adaptation as 'perfect' ... It may be perfect telly, but perfect 'Pride & Prejudice' it isn't quite.

Fay Weldon's 1979 version, however, is about as true to the original as it's possible to be - and it's a stronger work because of it. The blend of comedy and romance is beautifully judged, and one realises just how superb Ms Austen was at writing dialogue for her characters, and how deep those characters are. Weldon allows them to develop, and includes traits and observations that are omitted in the later version - presumably to make way for spectacle such as Mr Darcy fencing, or a society ball, or two, or three - or a scene of debauchery in a sordid lodging-house.

The wet shirt syndrome is not needed here. Fay Weldon and the producers have such confidence in the original material that they follow it as exactly as dramatisation will allow. (With one slightly puzzling exception: an important scene between Lizzie and Darcy has been relocated from the inn at Lambton to the drawing room at Pemberley. This is unlikely, under the circumstances, and - oh, but never mind ...)

The script is Austenesque from start to finish - and Ms Weldon is a great Austen fan, so she should know.
NB. Recommended reading for ANYONE who finds a Jane Austen novel 'difficult', or 'irrelevant': Fay Weldon's book 'Letters to Alice' is all about how to enjoy them. Trust me, after reading it, you will understand JA completely, if you haven't before. Should be compulsory reading on every GCSE course.

The casting is also lovely throughout - the portrayals again more true to their originals. And yes, this includes Lizzie Bennet and Mr Darcy. Excellent though Firth and Ehle are, for me Elizabeth Garvie and David Rintoul are sublime. Darcy has never been so reserved - so much so, that on occasion you might be forgiven for wishing that he would lighten up just a bit! Colin Firth's great strength of course is in making you suffer the pangs of a dawning love, along with Mr Darcy - in every frame; David Rintoul thaws more gradually.

(A note for the discerning: the Bennet Girls speak much better in this earlier version, too. They are without the horrible and very modern high street 'twang' that afflicts so much recent period drama, and which so many younger actors seem incapable of curing.)

The visual quality is also grand: being a product of the 1970s, it was mainly studio-based, and beautifully lit accordingly. It is what it is: the interiors are nicely designed purpose-built sets, shot on videotape, and the exteriors are fairly brief inserts shot on 16mm film - as was the norm. It works - and has moments of great power: Darcy's letter to Lizzie, read as a voice-over, with Darcy walking away into the distance is a magical sequence.

This series takes a lot of beating.

Have this one, if you want Jane Austen - AND the later one, just for the hell of it. Go on! They are BOTH hugely enjoyable, neither will bankrupt you, and they can BOTH be returned to with delight many times over.

This is lifting the characters from the page. Elizabeth's lovely dark eyes sparkle with mischief. Darcy is aloof and seemingly unattainable.
There were no wet shirt scenes in Austen's book and none were needed in this very fine authentic adaptation. Mrs Bennet here was convincing and not irritating in the way Alison Steadman portrayed her in the more recent version (I found all her screeching extremely annoying). Whilst I did like Colin Firth's Darcy for me he was sweet and vulnerable whereas I never saw Austen's Darcy like that. It is ironic that there is that side to him but it is not on display, Elizabeth has to work for this insight. David Rintoul has the looks, voice, mannerisms and bearing that is just simply Darcy. Elizabeth Garvie is exquisite and I will always see her as Elizabeth Bennet - the way she looks and acts. Magic

Having watched the 1995 version something like ten times during the last fifteen years, it was a treat to watch this 1980 version, which I had seen only once before (in 1981). At first sight the 1995 version appears to be such a massive and grand production that it must put all other versions (including the 2006 film) to shame. However, first impressions can be deceiving. The 1995 script shows great inventiveness in letting us see more than just one side of Mr. Darcy, but I feel that the story is at its best when it's connected with members of the Bennett family, and this is where Fay Weldon's script has its focus. The 1995 version also has touches of "realism" regarding a wealth of detail such as manners, clothing and dances of the period. As wonderful and entertaining as the results are, "realism" was hardly foremost in Austen's mind when she wrote the book. The wonder of the book (at least for me) is the gentle irony with which the author (and Lizzie despite her young age) is able to deal with the perversions of others and the not so promising prospects of the Bennett family. In this key point I feel that the 1980 version fares better, and much of the credit for this must go to actress Elizabeth Garvie. The 1995 version certainly also has irony, but it is not that of an innocent 20 year old girl living in Austen's era. The 1980 version is not quite as funny, but neither is it as sentimental as the 1995 version. With five episodes, the 1980 version is slightly shorter and it opts to leave out the most sentimental parts towards the ending.

On first viewing of this dvd, a couple of scenes stood out: How young Ms. De Bourgh unexpectedly touches Lizzie's arm and then holds out her hand as Lizzie takes her leave from Rosings, How Lizzie, in one of her monologues, analyses the unhappy development of her parents' marriage, The look on Lydia's face when she (as Mrs. Wickham) offers her forehead to Mr. Bennett to be kissed. Capital!

The opening titles and music on this dvd are a delight; they set the mood perfectly (1995 version borrows its opening from the 1967 Forsyte Saga - not bad, if one has to borrow)

I gladly give five stars to the 1995 version, but the 1980 version will remain special to me. It introduced me to Jane Austen. Finally, a big thank you to the Dutch company who made this version available on dvd.