User:Ruby2010/Mansfield Park (film)
| Mansfield Park | |
|---|---|
| Mansfield park.jpg Theatrical release poster | |
| Directed by | Patricia Rozema |
| Screenplay by | Patricia Rozema |
| Based on | Mansfield Park by Jane Austen |
| Produced by | Sarah Curtis |
| Starring | |
| Cinematography | Michael Coulter |
| Edited by | Martin Walsh |
| Music by | Lesley Barber |
Production company | |
| Distributed by | Miramax Films (US)[citation needed] Buena Vista International (UK)[1] |
Release dates |
|
Running time | 107 minutes[1] |
| Country | United Kingdom |
| Language | English |
| Box office | $4,775,847[2] |
Mansfield Park is a 1999 British romantic comedy-drama film based on Jane Austen's novel of the same name, written and directed by Patricia Rozema. The film departs from the original novel in several respects. For example, the life of Jane Austen is incorporated into the film, as are the issues of slavery and plantation life. The majority of the film was made at Kirby Hall in Northamptonshire.
Plot[edit]
At the age of 10, Fanny Price is sent to live with her wealthy uncle and aunt, Sir Thomas and Lady Bertram, as her own parents do not have enough money to support their many children. Once at Mansfield Park, Fanny meets her cousins Tom, Maria, Edmund, and Julia, as well as Fanny's other maternal aunt, Mrs Norris. Fanny does not feel welcome, and Norris treats her more like a servant than a relative. Edmund behaves kindly to her, and the two develop a friendship that grows as the years progress.
When Fanny is eighteen, Sir Thomas and his eldest son Tom travel to Antigua. In their absence, the Bertram family is disrupted by the arrival of Henry and Mary Crawford, relatives of the local clergyman. Worldly, cynical and beautiful, Mary and Henry arrive looking for amusement. Edmund is instantly smitten with Mary, somewhat ignoring and hurting Fanny. Maria and Julia both vie for Henry's affections, even though Maria is already engaged to Mr Rushworth. Henry shamelessly flirts with Maria. Later, Tom returns from Antigua, arriving drunk and bringing a friend, Mr Yates, with him. Yates and Tom convince the Bertrams and Crawfords to stage a risque play, Lovers' Vows. The play allows the young people to openly flirt with each other. Edmund initially speaks out against the play, but changes his mind when he is offered a part that allows him to act out flirtatious scenes with Mary. Sir Thomas arrives home, and in anger immediately stops the play.
Maria marries Rushworth, esteeming his fortune above his character. Henry decides to pursue Fanny as a means to amuse himself. However, Fanny's gentle and kind nature gradually captures his fancy, and Henry becomes emotionally attached to her. After his behaviour towards the Bertram girls, Fanny distrusts him and does not believe his declarations of love. Even so, Henry proposes and Fanny is pressured by her uncle to accept the offer; she disappoints the family by refusing. Angry, Sir Thomas gives Fanny an ultimatum – accept Henry's proposal of marriage or be sent back to her poor family and experience the difference in comfort. Fanny looks to Edmund for support, but his indifference forces her to choose the latter. Several days after her return home, Henry pays a visit to convince Fanny that his affections for her are genuine. Although she looks more favourably on him, Fanny continues to cling to her feelings for Edmund and rejects Henry. Only when a letter from Edmund arrives which discloses his hopes of marrying Mary does Fanny accept Henry's offer. However, Fanny realizes she does not trust him, and takes back her acceptance the next day. Henry leaves, exceedingly hurt and angry. Edmund arrives to take Fanny back to Mansfield Park to help care for Tom, who has fallen seriously ill and is near death. Edmund confesses he has missed Fanny.
Henry gains Maria's pity when she learns of Fanny's refusal of his marriage proposal, and together they succumb to their lust. The affair is discovered by Fanny and Edmund. Shocked, Fanny is comforted by Edmund and the two nearly kiss, but he remembers himself and pulls away. News of the scandal spreads rapidly and Mary quickly devises a plan to stifle the repercussions. She suggests that after a divorce, Maria would marry Henry while Edmund would marry Mary; together they might re-introduce Henry and Maria back into society. Fanny questions Mary as to how a clergyman could afford lavish parties, and Mary shocks everyone by stating that when Tom dies, Edmund will be heir to the family's fortune. Edmund is appalled and tells Mary that cheerfully condemning Tom to death whilst she plans to spend his money sends a chill to his heart. Having betrayed her true nature to the Bertram family, a shamed Mary leaves the Bertrams' company. Edmund ultimately declares his love for Fanny, and they marry. Sir Thomas gives up his plantation in Antigua and invests instead in tobacco, while Tom recovers from his illness. Fanny also mentions that her younger sister Susie has joined them at the Bertram household while Maria and Aunt Norris take up residence in a small cottage removed from Mansfield Park.
Cast[edit]
- Frances O'Connor as Fanny Price
- Jonny Lee Miller as Edmund Bertram
- James Purefoy as Thomas Bertram Jr.
- Embeth Davidtz as Mary Crawford
- Alessandro Nivola as Henry Crawford
- Harold Pinter as Sir Thomas Bertram Sr.
- Lindsay Duncan as Lady Bertram / Mrs Price
- Victoria Hamilton as Maria Bertram
- Justine Waddell as Julia Bertram
- Hugh Bonneville as Mr Rushworth
- Sheila Gish as Mrs Norris
- Charles Edwards as Mr Yates
- Hilton McRae as Mr Price
- Sophia Myles as Susan Price
- Anna Popplewell as Betsey
- Hannah Taylor-Gordon as Young Fanny
Production[edit]
Conception and adaptation[edit]
The mid-1990s saw a resurgence in popularity for the novels of Jane Austen, with adaptations of her stories being adapted on film and television.{CN} Released in 1999, Mansfield Park was the last of these films to be adapted.[3] Before then, the most recent adaptation of the novel had been released on television in 1983 by the screenwriter Ken Taylor, a serial that was 261 minutes long.[4]
The Canadian director Patricia Rozema wrote and directed the film. In 199x, the producer Harvey Weinstein approached Rozema and asked if she would take over the project from an already written screenplay draft.[5][6] Rozema viewed Austen as one of the best English-language writers, who produced stories wherein every reader could find themselves.[7] However, she did not consider Mansfield Park to be a "perfect novel" and questioned his choice of director; Weinstein explained that he wanted his film to be visually distinct.[6] At the time, Rozema was known for making independent films such as I've Heard the Mermaids Singing (1987), which won the Prix de la jeunesse at the Cannes Film Festival.[3] She spent "nearly two years bringing Mansfield Park to the screen"[6] and sent a draft of a screenplay to Weinstein.[3]
In preparation, over many months Rozema read Austen's letters and used them as inspiration for her script's dialogue, finding ideas in the "lively tone" Austen used when writing to her family and friends.[8] She also read various criticisms of Austen's novel, including an essay by Edward Said, "Jane Austen and Empire", which had a strong influence on her script.[7][9] Rozema felt "morally obligated" to outline the connection between slavery in the West Indies and British society's enjoyment of leisure.[10] She believed that fidelity to the source material was vital, but also recognised that adaptation required service to "two masters: the author's intention and the needs of film," with some story elements "impossible" to adapt in a visual medium.[10]
Casting[edit]
Rozema made all of the decisions regarding casting of the film, in consultation with its producers.[11]
Costume design[edit]
The costumes featured in the film are often "deliberately anachronistic".[12]
Andrea Galer served as the film's costume designer. For research, she studied the time period and then made slight alterations for modern appeal, making the costumes more flattering with a slimmer silhouette.[13]
Filming[edit]
Co-produced by Miramax and the BBC, the film also received a £1 million grant from Arts Council England.[14] They{who} hired Michael Coulter as the film's cinematographer, who had also served in this role during Sense and Sensibility several years previously.[15]
Before filming began, Rozema was forced to trim down her screenplay out of budget considerations.[16]
Rozema visited many lavish homes in England before deciding on Kirby Hall, a 16th-century manor house in Northamptonshire managed by the charity English Heritage.[15] While the novel's titular residence was meant to be modern for the time period, Rozema chose the residence, which was built two centuries before her story's setting, to symbolise the Bertram family's deficient moral values and financial vulnerabilities. Consistent with this viewpoint, Coulter consequently shot Kirby Hall as barren and grim.[17]
Themes and analysis[edit]
Changes from source material[edit]
Rozema’s production differs from the novel in several ways. The film changes some central characters, eliminates several others, and reorganizes certain events. The result is a film that retains the core character evolution and series of events of Jane Austen's novel, but in other ways, some critics claim, stresses its themes and ideas differently. The plot changes the moral message of Austen's novel[citation needed], and makes the story a critique of slavery rather than a conservative critique of the "modern";[citation needed] in the novel Fanny's passivity and moral stance are seen as virtues but these aspects of her character are missing from the film, except during the staging of Lovers' Vows, from which she abstains.[citation needed]
- Slavery
Austen was aware of the abolitionist movement, as well as the plight of slaves; indeed, her inclusion of Antigua in Mansfield Park is likely directly connected to a letter she received from her brother Francis on the subject of his visit to the Caribbean island.[18] In her novel, slavery is mentioned by the characters only once – Fanny raises the subject of the slave trade to the Bertram family, only to be met with silence.[19] In contrast, Rozema's film includes slavery as a central plot point; there are explicit descriptions of the treatment of slaves and numerous reminders of how Bertram family owes its wealth to slavery, as well as England's role in the slave trade.{CN} The role and influence of slavery in the world of Mansfield Park is emphasized from the start of the film. Fanny, seeing a slave ship on her initial journey to the family, asks her coachman about it and receives an explanation.[20] A parallel is drawn between Fanny's role as a woman and a poor relative in the Bertram family, and the role of slaves.{CN}
The scholar Pamela Church Gibson notes that Rozema's "radical" adaptation changes slavery from a mere literary device into the fulcrum of the plot. "Rozema takes the topic into terrain where Jane Austen could not or would not go," Church Gibson writes.[18] For instance, Tom Bertram's return from Antigua is motivated by his disgust with what he has seen there,[21] and this disgust is reinforced by a journal that Fanny finds at Mansfield Park showing apparently criminal events occurring in Antigua that involve Sir Thomas.
- The character of Fanny Price
The character of Fanny is significantly different in the film. In the novel, Fanny is very shy and timid, and not accustomed to giving her own opinion. Her physical condition is frail, making her tire easily. In the film, in contrast, Fanny is extroverted, self-confident, and outspoken, while also being physically healthier. In addition, the film version of Fanny is portrayed as a writer from her childhood into her adulthood at Mansfield Park. These character traits are incorporated directly from the life of Jane Austen – some of Fanny's writings are actually Austen's, including the "History of England".[22]
- Other character changes
The film dispenses entirely with several characters, whilst changing the roles and character traits of others. The parson Dr. Grant, and his wife, the Crawfords' half-sister Mrs. Grant, do not feature in the film. Fanny's Royal Navy brother William visits Mansfield Park and gives Fanny an amber cross (continuing the trend to endow Fanny with Jane Austen's life experience; her naval brother Charles gave her an identical cross, now to be seen at Jane Austen's House Museum). Her close relationship with William in the book is mostly replaced in the film by her relationship with her younger sister Susan, with whom in the novel, Fanny does not develop a relationship until her return to Portsmouth.
- Plot changes
Fanny's banishment to Portsmouth is characterized as a punishment by a vengeful Sir Thomas rather than as a respite from stress following Henry Crawford's unwelcome attentions. In the novel, Fanny is never tempted to accept Mr. Crawford's proposals, whereas in the film, Fanny accepts, then repudiates, Henry Crawford's offer of marriage, and her family has full knowledge of it. (Presumably this is taken from events in the life of Jane Austen, who accepted a proposal of marriage from a man she had known since childhood, and then retracted her acceptance a day later.)
In the novel, Fanny remains at Portsmouth for several months, whereas in the film she returns to Mansfield Park much earlier in order to nurse Tom Bertram back to health. This makes her witness to the events that follow. In the film, Maria's adulterous liaison with Mr. Crawford occurs at Mansfield Park instead of in London; in the novel, Maria leaves her husband's London house to run away with Crawford.
In the novel, the revelation of Maria's adulterous affair, including Mary's casual attitude about it, occurs through letters (including from Mary to Fanny); in the film the affair is carried on at Mansfield Park in full view of the family.
In the novel, the shock to the Mansfield family is increased by Julia Bertram's elopement with Mr. Yates; in the film Julia remains at home, receiving a love letter from Yates at the end of the film instead of eloping with Mr. Yates.
Marketing and release[edit]
Mansfield Park is considered a financial failure.[23]
Reception[edit]
Upon release, Mansfield Park attracted polarizing reactions from literary scholars, film critics, and audiences.[14][23][24] Viewers comments on the film on various website message boards, while scholars discussed its merit on private email lists. ... [25]
It has received generally favorable reviews from critics. Film review aggregator Rotten Tomatoes reports that 76% of critics gave the film a positive review based on 68 reviews, with an average score of 6.9/10.[26] On Metacritic, which assigns a rating out of 100 based on reviews from critics, the film has a score of 71 based on 31 reviews.[27]
Roger Ebert of the Chicago Sun-Times gave it a four-star review, saying, "This is an uncommonly intelligent film, smart and amusing too, and anyone who thinks it is not faithful to Austen doesn't know the author but only her plots."[28] Owen Gleiberman of Entertainment Weekly also gave the film a positive review, dubbing it as "a handsome and forceful piece of work" and praising O'Connor's ability to display the "quiet battle of emotions in Fanny."[29]
Andrew Johnston of Time Out New York wrote: "Grafting incidents gleaned from Jane Austen's journals and letters onto the story of the author's third novel, Rozema captures the writer's combination of prickly wit and hopeless romanticism as few filmmakers have. ... You may be able to see Mansfield Park 's ending coming from a mile away, but it's so beautifully constructed and dramatically satisfying when it arrives that you probably won't mind at all."[30]
See also[edit]
References[edit]
- ^ a b "Mansfield Park (1999)". British Board of Film Classification. Retrieved 11 February 2018.
- ^ "Mansfield Park (1999) – Box Office Mojo". Box Office Mojo. IMDB. Retrieved 23 December 2013.
- ^ a b c McCreadie 2006, p. 16.
- ^ Parrill 2002, pp. 83–5.
- ^ Church Gibson 2004, p. 57.
- ^ a b c Kantrowitz, Barbara (31 October 1999). "Making an Austen Heroine More Like Austen". The New York Times. Retrieved 25 February 2018.
- ^ a b Moussa 2008, p. 290.
- ^ McCreadie 2006, p. 17.
- ^ Parrill 2002, p. 9.
- ^ a b Moussa 2008, p. 288.
- ^ Moussa 2008, p. 292.
- ^ Church Gibson 2004, p. 56.
- ^ "Coat Tales". The Guardian. 4 February 2000. Retrieved 11 March 2018.
- ^ a b Troost & Greenfield 2001, p. 188.
- ^ a b Johnson & Rozema 2000, p. 3.
- ^ Moussa 2008, pp. 292–93.
- ^ Parrill 2002, pp. 14, 86.
- ^ a b Church Gibson 2004, p. 52.
- ^ Parrill 2002, p. 90.
- ^ Parrill 2002, p. 89.
- ^ Church Gibson 2004, p. 53.
- ^ Parrill 2002, pp. 87–9.
- ^ a b Parrill 2002, p. 84.
- ^ Moussa 2008, p. 287.
- ^ Nachumi 2007, p. 130.
- ^ "Mansfield Park (1999)". Rotten Tomatoes. Flixster. Retrieved 23 December 2013.
- ^ "Mansfield Park Reviews - Metacritic". Metacritic. Retrieved 23 December 2013.
- ^ Ebert, Roger (24 November 1999). "Mansfield Park Movie Review & Film Summary (1999)". Chicago Sun-Times. Sun-Times Media Group. Retrieved 23 December 2013.
- ^ Gleiberman, Owen (19 November 1999). "Movie Review: Mansfield Park (1999)". Entertainment Weekly. CNN. Retrieved 23 December 2013.
- ^ Time Out New York, November 18–25, 1999, p. 121.
- Works cited
- Church Gibson, Pamela (2004). "Otherness, Transgression and the Postcolonial Perspective: Patricia Rozema's Mansfield Park". In Voigts-Virchow, Eckart (ed.). Janespotting and Beyond: British Heritage Retrovisions Since the Mid-1990s. Gunter Narr Verlag Tubingen. pp. 51–64. ISBN 3-8233-6096-5.
- Groenendyk, Kathi (2004). "Modernizing Mansfield Park: Patricia Rozema's Spin on Jane Austen". Persuasions On-Line. 25. Retrieved 11 February 2018.
- Johnson, Claudia; Rozema, Patricia (2000). Jane Austen's Mansfield Park: A Screenplay by Patricia Rozema. Hyperion. ISBN 0-7868-8603-X.
- McCreadie, Marsha (2006). Women Screenwriters Today: Their Lives and Words. Greenwood Publishing Group. ISBN 0-275-98542-3.
- Moussa, Hiba (2008). "Patricia Rozema". In Walker, Elsie M.; Johnson, David T. (eds.). Conversations with Directors: An Anthology of Interviews from Literature/Film Quarterly. Scarecrow Press. pp. 286–93. ISBN 978-0-8108-6122-0.
- Nachumi, Nora (2007). "A Spy in the House of Austen: Literary Critics, Lay Readers, and the Reception to Patricia Rozema's Mansfield Park". In Cavanaugh, Alden (ed.). Performing the "everyday": The Culture of Genre in the Eighteenth Century. University of Delaware Press. pp. 130–38. ISBN 978-0874139709.
- Parrill, Sue (2002). Jane Austen on Film and Television: A Critical Study of the Adaptations. McFarland. ISBN 0-7864-1349-2.
- Troost, Linda; Greenfield, Sayre N (2001). "The Mouse That Roared: Patricia Rozema's Mansfield Park". In Troost, Linda; Greenfield, Sayre N (eds.). Jane Austen in Hollywood. University Press of Kentucky. pp. 188–204. ISBN 978-0-8131-9006-8.
External links[edit]