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Ficha Técnica
Título Original: Pride & Prejudice
Gênero: Romance
Tempo de Duração: 127 minutos
Ano de Lançamento (Inglaterra / França / EUA): 2005
Direção: Joe Wright
Roteiro: Deborah Moggach.
Censura: Livre

O filme é uma adaptação do romance Pride & Prejudice (Orgulho e Preconceito) , de Jane Austin. Ambientado na Inglaterra de 1797, o filme revela os costumes da época.

A trama se centra na tradicional, porém modesta, família Bennet, composta pelo Sr. (Donald Sutherland) e pela Sra. Bennet (Brenda Blethyn) e por suas cinco filhas, Elizabeth (Keira Knightley), Jane (Rosamund Pike), Lydia (Jena Malone), Mary (Talulah Riley) e Kitty (Carey Mulligan), que foram criadas para encontrar maridos que garantissem seu futuro.
Na Inglaterra desse período, assim como em outros lugares do mundo, o enlace matrimonial era o centro da vida das jovens mulheres de então. Não casar significava, às pobres moças, o estigma de solteironas, perdedoras e infelizes. Ou pior, no caso das mais pobres, a perda da única chance de ascensão social.
Mas Elizabeth, considerada a menos bonita das irmãs, deseja ter uma vida muito maior do que apenas se dedicar ao marido, sendo apoiada pelo pai.
Quando o Sr. Bingley (Simon Woods), um solteiro rico, passa a morar em uma mansão vizinha, as irmãs logo ficam agitadas. Quando elas entram em contato com o rico rapaz em um baile, a mais velha, Jane, parece que conquistará o coração do novo vizinho, enquanto que Elizabeth conhece o bonito, porém esnobe e frio, Sr. Darcy (Matthew Macfadyen). Os encontros entre Elizabeth e Darcy passam a ser cada vez mais constantes, apesar deles sempre discutirem.
Elizabeth Bennet é uma moça muito à frente do seu tempo, é sagaz e de uma inteligência superior, ela enxerga com outros olhos a vida e o seu destino. Mas acaba envolvida pelo charme discreto do melhor amigo do Sr. Bingley, o aristocrata e pedante, Sr. Darcy.
Como em toda bela história de amor que se preze, muitas serão as imposições da vida contra esta união. Será que os apaixonados conseguirão desprezar, condição social, diferenças culturais e tanto orgulho e preconceito, para enfim viverem esse ardente amor?
Vale a pena conferir, embora muitos acreditem que falta ao filme o olhar satírico de Jane Austin no roteiro de Deborah Moggach.


Jane Austen (1775-1817), nascida em Hampshire, Inglaterra, foi a filha caçula de oito irmãos de uma família tradicional. Escreveu, aos quinze anos de idade, seu primeiro romance, Amor e Amizade, e em 1796 deu cabo a Primeiras Impressões, que acabou sendo recusado por um editor. Austen então o reescreveu totalmente, e o rebatizou de Orgulho e Preconceito, sendo este lançado somente em 1813, e que acabou se tornando seu romance mais famoso.

Pride and Prejudice for Lucas McNelly

We all know the story behind Pride & Prejudice, as we all had to read the novel in literature class back in our formative years, so it should come as no surprise to learn that the five Bennet sisters are focused solely on finding a husband. They are thrown into a tizzy when handsome and wealthy Mr. Bingley (Simon Woods) shows up with the dour Mr. Darcy (Matthew MacFadyen). The sisters cannot stand Mr. Darcy, Elizabeth (Keira Knightley) chief of all, be he wins them over in the end and they fall in love.

If is right and Jane Austen's Pride and Prejudice has been adapted nine previous times for either film or television, then do we really need a tenth? Is it necessary to come up with a nice, even number for the sake of completeness, or do the good folks at Working Title Films really think they can add a fresh approach to this classic? Attempt number eight was just two years ago in a forgettable version that included scenes in Las Vegas, and number nine was last year in Gurinder Chadha's Bollywood version, so perhaps the feeling was that the story could benefit from a return to form. But if that is the case, why not just hype the DVD release of what many consider to be the definitive version: the 1995 BBC miniseries with Colin Firth as Mr. Darcy? At least, this is what I'm thinking as I'm waiting for the film to start. I'm also wondering why there couldn't be a late showing of The Squid and the Whale, but I digress.

This being a British period drama, the film has a large cast of supporting characters who provide the story's ballast and give an air of authenticity to the production. Case in point, Dame Judi Dench turns up as Lady Catherine de Bourg, which shouldn't really be a surprise to anyone, because when doing a British period drama, you're going to have your film viewed as a second-class citizen if you can't get Judi Dench. Otherwise, why even bother? I always get the feeling watching these things that part of the reason the film was made was to provide work for a small army of struggling actors, almost as if period dramas existed solely as a British arts initiative similar to the American theatre programs during the Great Depression.

So with that in mind, it is certainly odd to see Donald Sutherland playing Mr. Bennet and Jena Malone as Lydia Bennet, but perhaps that serves as a half-hearted attempt to draw in American audiences. In the end, though, Sutherland gives the best performance of the film. Mr. Bennet is in many ways an unfortunate man. He is not a rich man by any stretch of the imagination and has a small house filled with a wife and five daughters he loves dearly, but as young girls are wont to do, there is a great deal of giggling and screaming and such. The poor man must be exhausted. Sutherland plays him with a weary grace that reminds us of just the type of performances he used to give on a regular basis. In a very strange film for it to occur, we are reminded just how cool he is.

But Pride & Prejudice is better than you'd expect it to be for one very specific reason: director Joe Wright. Rather than use the normal method of filming a period drama where you put the camera on a tripod and occasionally throw in a pan or tilt, Wright (with a great deal of credit going to cinematographer Roman Osin and editor Paul Tothill) approaches it as he would an indie drama. Primarily employing a steadicam, he uses the moving camera to bring the film to life. Normally a static genre, the infusion of a strong visual style gives it a new spin without detracting in any way from the story. And it's rarely even things an average audience member would notice. He doesn't speed up the film stock or spin the camera around or give us strange angles or any of the other flashy techniques that can occasionally feel forced, it is simply a filmmaker coming at the story with great respect, but a completely different worldview. It is an inspired decision, as it updates and modernizes a classic while seeming to be the farthest thing from the production's mind.

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