Elizabeth Bennet’s famous question, “What are men to rocks and mountains?”, resonates deeply within Joe Wright’s 2005 film adaptation of Jane Austen’s Pride & Prejudice. This essay explores how Wright’s film interprets this question through a Romantic lens, focusing on the characters of Elizabeth and Darcy as individuals striving for self-fulfillment within the constraints of societal expectations. The film highlights the tension between individual desire and social order, utilizing visual elements like sweeping natural landscapes to underscore its Romantic themes.
The Romantic Self in Austen and Wright
While Austen’s relationship to Romanticism has been debated, Wright’s adaptation unequivocally embraces a Romantic interpretation. The film centers on Elizabeth and Darcy’s journeys toward self-discovery, portraying them as Romantic heroes navigating a patriarchal society. Their internal struggles are mirrored by the film’s visual juxtaposition of confining interiors with the liberating expanse of nature. This emphasis on individual autonomy and the sublime power of nature aligns with core tenets of Romantic ideology.
Men as Commodities and Byronic Heroes
Wright cleverly visualizes Austen’s commentary on the commodification of men in the marriage market. The arrival of Darcy and Bingley at the Meryton assembly is depicted as a spectacle, highlighting their status as eligible bachelors. However, Darcy’s awkwardness and discomfort in social settings distinguish him from the typical societal expectations of masculinity. This sets the stage for his characterization as a Byronic hero – a brooding, introspective figure who finds solace and self-expression in nature.
Landscape, Interiors, and the Pursuit of Self
The film masterfully employs contrasting settings to reinforce its themes. The ornate interiors of Rosings and Netherfield represent the stifling constraints of societal expectations, while the wild beauty of the Derbyshire countryside embodies freedom and individual expression. Elizabeth’s solitary walks and Darcy’s connection to the Pemberley landscape underscore their shared alienation from society and their affinity for the natural world.
Visualizing Elizabeth’s Perspective and Darcy’s Transformation
Wright often adopts Elizabeth’s point of view, allowing the audience to experience her evolving understanding of Darcy. Her visual journey through Pemberley, culminating in her gaze upon Darcy’s Grecian-style portrait, signifies her recognition of his true character and his alignment with Romantic ideals. This visual narrative underscores Darcy’s transformation from a seemingly aloof aristocrat to a passionate, Byronic hero driven by his love for Elizabeth. This transformation is further emphasized in the film’s depiction of Darcy’s two proposals, with the first occurring in the structured gardens of Stourhead and the second in the natural landscape surrounding Longbourn, symbolizing his liberation from societal constraints.
A Romantic Resolution
Ultimately, Wright’s Pride & Prejudice presents a Romantic resolution to the central conflict between individual desire and societal pressure. The union of Elizabeth and Darcy allows them to retain their individual integrity while finding happiness and fulfillment together. Their final embrace in the natural landscape signifies their shared escape from the confines of society and their embrace of a Romantic ideal of love and self-discovery. The film, therefore, argues that genuine self-fulfillment can be achieved through a defiance of societal norms and an embrace of individual passion and authenticity, much like the steadfastness of rocks and mountains against the fleeting judgments of men.
