The title is fairly telling of this post. Modern-day spin-offs of Jane Austen’s works are constantly hitting the DVD shelves and bookstores, and I’m automatically skeptical of them. Here’s my attempt to discuss why and how I’ve reacted to a few of them. I love some, but my bar is high and I've strongly disliked others.

I think my skepticism comes from simply airing on the “don’t mess with a classic” side of the debate. I’m not hard and fast on this, but modern spin-offs do make me nervous. When I see one in a store, I automatically wonder what that particular author or director has done with the characters, how much of the story has been changed to fit the present, and whether a perception on the original would be affected. So far, I’ve found that in general, I like very loose spin-offs much better than the attempts I’ve seen to directly translate an entire story into modern times. The looser interpretations tend to bring in Austen as a background element rather than copying big sections of her plots, and that's often the better option for modern stories. Because here’s the thing: so many directors and authors mutilate her plot devices and themes by trying to “update” or “modernize” them. For example, in Bridget Jones’ Diary, a modern spin-off of Pride and Prejudice, chivalry is dead and permanence is not to be expected in marriage, but these are foundational elements of Austen’s original novel. Darcy has to be a man worthy of Elizabeth’s affection before he can win her heart, and manners and chivalry are integral elements to that. And of course, we have no doubt that Darcy and Elizabeth will be together for the rest of their lives. In this spin-off, the attempt to “update” sexual ethics robs the story of much of its charm and beauty. So I remain skeptical and choosy. Here are my takes on a few popular ones. 

Liked It 

You’ve Got Mail: A feel-good chick flick with Tom Hanks and Meg Ryan in the leading roles, You’ve Got Mail has been a classic romantic comedy since it first hit screens in the ‘90s. It’s a very loose modern take on Pride and Prejudice – a rich guy and middle-class girl hate each other at the start and then later realize their mistakes, and that’s about where the similarities end, which is completely fine with me. In a way, it just shows how foundational Pride and Prejudice was for modern love stories. In this one, Joe Fox and Kathleen Kelly interact bitterly in the beginning, only to later discover they have much more in common than they thought. He’s rich and grand and owns a mega bookstore, and she owns a small, corner-side, children’s bookstore. And Kathleen is obsessed with the book Pride and Prejudice. Watch this one. You’ll feel happy and fuzzy inside afterwards. 

Dear Mr. Knightley by Katherine Reay: I audiobooked this one and was impressed. Though it’s not even an attempt to retell an Austen story, it draws heavily on her books and a few other classics. Heroine Samantha Moore is bookish, to say the least. She has all of Jane Austen’s novels fairly memorized and loves Dickens and the Brontë sisters as well. She quotes Austen in normal conversation to the point of aggravating others, and it’s quickly clear that she often does it to hide her true feelings. Throughout the story, her friends and grad school adventures help her to slowly realize that her literature obsession has become a wall in her heart. She hides behind her books to protect herself from facing fears that have resulted from her traumatic past. This one’s definitely worth checking out – it’s thoughtful, touching, and sensitive with difficult subject matter, and any classics fan will be right at home. 

It Was Okay

Lizzie Bennet Diaries: This YouTube video series is decent, but not fantastic. Lizzie Bennet is a modern day grad student and video blogger, and the primary characters from the original Pride and Prejudice novel are still major players. Practical Charlotte, sweet Jane, flighty Lydia, prideful William Darcy, amiable Charles Bingley, and the scoundrel George Wickham are all present. But, like Bridget Jones’ Diary, this adaptation tries too hard to update everything. Some aspects of an 18th century novel just won’t translate to modern times, and sometimes it’s better not to try. The updated versions of Elizabeth’s trip to Pemberley, Lydia’s elopement with Wickham, and the marriages of Elizabeth and Jane are a few big events that left me dissatisfied. Overall, the series is funny and entertaining, but not an altogether ideal modern interpretation. 

Not So Much
Lost in Austen: This was so bad that I stopped in the middle, and I hardly ever leave a movie unfinished. A convoluted misadventure of a modern 21st century girl who finds herself in Elizabeth Bennet’s place inside of Pride and Prejudice, this miniseries shuffles up the novel’s events and characters so much that it’s hardly recognizable anymore. Bottom line: it chopped up the original story and I’m not okay with that.

Pride and Prejudice and Zombies: Okay, so this isn't set in the modern day, but surely it's different enough to warrant mentioning here. A very popular book that’s soon to be a film, this zombie-war retelling just hits all the wrong chords for me. Admittedly, I’ve haven’t read it, but I flatter myself that I’m enough of an Austen fan to think that bloody wars with the almost-dead are a bit off. I’m bummed about the movie too – beautifully graceful Lily James, the world’s newest Cinderella and Downton Abbey’s Lady Rose, will star as Elizabeth, and I think she really looks the part, so it honestly makes me wish it was just another regular old Pride and Prejudice adaptation. Hopefully another one won't be too long in coming!

Considering Them

Jane Austen Takes the South Series by Mary Jane Hathaway: I came upon these in Barnes & Noble one day and perked up, but haven’t taken the plunge quite yet. Reviews sing their praises, saying they have a lovely mix of Southern charm, engaging romance, and fun acknowledgments to Jane Austen. From what I’ve gathered, they seem to honor the original stories while also spinning out new ideas so that Austen’s plot devices aren’t misused, which is clearly important to me. Plus, I was raised in the South, so of course I was intrigued, right? If you’re interested, here they are – Pride and Prejudice and Cheese Grits; Emma, Mr. Knightley, and Chili-Slaw Dogs; and Persuasion, Captain Wentworth, and Cracklin’ Cornbread. What titles, I’ll say, if nothing else! 

For no extra charge, I'll also add that I have really enjoyed a few retellings of Pride and Prejudice itself from Mr. Darcy's perspective. I really like Darcy's Story by Janet Aylmer and have liked what I've scanned of Dear Mr. Darcy by Amanda Grange. I also plan to check out the Novels of Fitzwilliam Darcy by Pamela Aidan at some future point.

What Jane Austen spin-offs have you enjoyed? What are your thoughts on any of the above? Do you have any pressing recommendations? I'd love to hear! 
 

*I do not own the rights to the photos in this post. All images used were retrieved from credited Internet sources below* 
You've Got Mail: Fanpop 
Dear Mr. Knightley: Amazon
Pride and Prejudice and Zombies: Entertainment Wallpaper
Jane Austen Takes the South Series: Amazon

The premise behind this blog is stories. Stories are everywhere – books, places, movies, people, TV. And I just so happen to be particularly fond of British stories. :) But I think it’s plain through all of these things that we as people love stories. We spend extraordinary amounts of time and money on Netflix, movies, television, books, music, shows and performances, and so many other avenues of entertainment. And they all tell a story of a sort. Clearly, we are story-loving people. Why is this?

Not surprisingly, this is a question I’ve pondered long and hard, especially since I’ve loved reading from my earliest memories. Why do I get so absorbed in a huge collection of words that spin a story together before my mind’s eyes? Why do I and many other people become wrapped up in the lives of characters that someone else made up? We often feel their pains and joys deeply and get exercised over what happens to them (don’t lie). Movies, books, plays, songs, and TV shows make us laugh, cry, fume, and many things in between. 

I think we love stories because we were created by a God who loves them too. And He uses them often. Of all the ways that He could reveal Himself and His purpose to us, He chose to do it through a story and a book. God drew word pictures for Israel in the Old Testament. Jesus taught in parables, or short stories. They were simple, but rich in spiritual meaning. They touched the deep emotions of His hearers and spoke to fundamental problems and questions of humanity. And the best stories and fairytales continue to do this. They point us to something bigger than ourselves, like the stories in the Bible do. God commanded Hosea to marry a prostitute to draw a story for Israel – Hosea was God’s word picture, showing Israel the severity of their unfaithfulness and the scandal of His love and mercy. Jesus’ parables spoke to the depth of humanity’s sinfulness and demonstrated something to His listeners about the kingdom of God. The best stories that we read and watch today are similar in function. They point to something bigger and leave us with applicable truth. You just have to look for it. For example… 

Kenneth Branagh’s new Cinderella encourages us time and time again to “have courage and be kind.” Cinderella’s perseverance and the prince’s pursuit of her show us that hope and love and goodness are real (read more here). Why do I revel in Pride and Prejudice and Downton Abbey so much? In Pride and Prejudice, Darcy and Elizabeth both learn humility. Through difficulty, Elizabeth finds that judging quickly is not always the best course, and Darcy learns that loving Elizabeth will mean sacrifice on his part. In Downton Abbey, family loyalty is prized. Matthew helps Mary to discover gentleness in herself that she didn’t know existed (read more here). Anna and Bates stand by one another through more trials than any couple should have to endure (but really can they please have a break this next season?). And more recently, Poldark fascinated me for similar reasons. It addresses complex issues like greed, poverty, marriage, justice, and family. And at the center of the story are themes of redemption, loyalty, and perseverance through Ross and Demelza. Ross rescues Demelza from poverty and abuse, bringing her to dignity and a new life. And in turn, Demelza’s optimism and compassion soften Ross’s stoic, unforgiving nature (read more here). If you zoom out (obviously, metaphors are never perfect), isn’t that a picture of the gospel from both sides? We have a Savior who raises us up to new, abundant life, and fruits of His Spirit in us are joy and kindness. 

Stories are powerful. They affect us. I love that about human nature. And I think God created us to love them because we are part of one too. We are currently players in the greatest story ever told – that a powerful, almighty God is redeeming people for His glory and pleasure. What a privilege to be part of it! And Christmas reminds me of this beautiful truth so poignantly. The incarnation was a turning point in God’s story of redemption, and as I reflect on it this December, I want it to also make me anticipate Christ’s second coming all the more. His final coming, when the story will conclude with His triumph, but also just begin with our ultimate glorification for eternity. That’s the one thing that our man-made stories can’t quite capture. They have to end, and isn’t it sad when you reach the end of a wonderful book, movie, or TV series? We’re made for eternity, which I think makes us rebel a little when something good must end. Thankfully, the story we’re in has no end. I think C.S. Lewis was one storyteller who came close to capturing that in the final page of The Last Battle: 

“…for them it was only the beginning of the real story. All their life in this world and all their adventures in Narnia had only been the cover and the title page: now at last they were beginning Chapter One of the Great Story which no one on earth has read: which goes on forever: in which every chapter is better than the one before.” 

I’m ever so thankful for the stories I get to enjoy now, but oh, may I ever be mindful of the fact that they point to that greater story which will go on forever. I hope you will too, fellow Christian, as well as remember that your story-loving Savior gives you stories now to whet your anticipation for that eternal story of which He has so graciously made you a part.

As an avid reader, I can be pretty picky about film adaptations of books. I notice even small discrepancies, so I can be that annoying person in a group who points out the changes. But in recent years, my interest in movies has grown, so I’ve started appreciating them in different ways, even if they differ in some ways from the book. The reality is that books and films are vastly different storytelling mediums, and they’re both worthy of admiration in their own ways. I’ll still usually say the book is better, but my thought process as I watch the movie is now more open-minded. Here are a few things that I think are essential to keep in mind when watching a movie adaptation of a book.

Photo Credit: FreeImages.com

1. Are they really trying to adapt/remake the book?
This may seem like a rhetorical question, but an identical title does not mean it’s based off the book. Take the 1999 version of Mansfield Park, for example. Jane Austen’s novel Mansfield Park is the film’s primary source material, but in the opening credits, a notation appears that reads “Based on the novel by Jane Austen and Jane Austen’s diaries.” So, from the start, you know that they’re drawing from the book and from other records, which gives them license to make more changes than would have been acceptable if the book was the only source. And because of this, I was able to separate it in my head from the book a bit more easily. It was a varied interpretation of the book because it also drew from Austen’s personal writings.

On the other hand, if a movie claims to be based on a book, but deviates and spins off so much that it’s basically a different story, this is a problem. By all means, director, make up your own story, but don’t claim the book as your source! This is my problem with the second Anne of Green Gables film/miniseries from the 1980s starring Megan Follows. It claims in the opening credits to be based on Anne of Avonlea, Anne of the Island, and Anne of Windy Poplars. But it would have been more accurate to say it was based loosely on Anne of Windy Poplars and the director’s imagination. Fellow Anne aficionados, I’m sure you feel me. Aside from a few small facts, Anne of Avonlea and Anne of the Island are virtually nonexistent in this film while storylines from Anne of Windy Poplars are expanded on and added to. The third installment in these Anne films is obviously the director’s creation entirely, but at least it doesn’t claim to be adapting the books. Both of these movies are decent enough in themselves, but I always push the books and the first movie for anyone considering joining the Anne fandom.

2. If there are changes made or creative license taken, do they enhance the story as it is or change the plot and/or message?
I’ve realized over the last few years that a filmmaker must be allowed to interpret a story in his or her own way, just like every other reader. And when making a film, there has to be room for creative license because that’s the nature of the trade. Even if it means altering peripheral details or the order of events, creativity is a moviemaker’s forte and prerogative. And following a book scene-for-scene simply isn’t possible on a screen; it would be disjointed, tedious, and even confusing in some instances. What’s important when considering the variations in a movie is whether they actually change the story. Is that an entirely different storyline that was added in, or is it just expanding on or enhancing an existing one? Was there a good reason to leave out this or that particular plot point? For example, the 2011 adaptation of Jane Eyre starring Mia Wasikowska is overall a very good film, but perhaps the most chilling scene in the story was omitted – when Bertha sneaks into Jane’s room at night and rips her veil. And it’s an important turning point too! There didn’t seem to be a good reason for cutting this out either except for maybe time constraints. That was my main complaint about this adaptation, which is overall excellent.

In contrast to this unnecessary deletion of an event, the final Lord of the Rings film, The Return of the King, most notably cuts out the final dramatic sequence of the book, known as "the scouring of the Shire," and it was probably for the best. In this section, the hobbits return to the Shire after their journey to Mordor to find it overrun with cruel industrialization, and they quickly set about driving away the enemies that have brought it. While it works in the book, I can see how it would have been too much for the movie. The highly dramatic and intense scene at Mordor provided an adequate climax, and the following scenes in Rivendell begin the descent into the peaceful ending. Another big event could have seemed out of place in the movie. And let's be honest: it was running long anyway.

3. Is the heart and message of the book honored?
I think this might be the most important aspect to consider when watching a movie that’s based on a book (and is really based on the book it claims as its source). Even if there are changes, is the message the same? Is the heart of the story honored in the film?

This is what it came down to for me when I saw the 2005 movie of The Lion, the Witch, and the Wardrobe. It is a fantastic film. Are there changes? Yes. Are some aspects tweaked and expanded upon? Yes. But, all the major plot points are still present, and it embodies everything that C.S. Lewis intended in his classic work – a magical children’s fairytale with deeply spiritual underpinnings. I had similar feelings about the last installment in the Narnia movies, The Voyage of the Dawn Treader. This one fared less favorably with the critics, and for many justifiable reasons. This is one of my favorite books in the series, so it is frustrating that major new storylines were added in unnecessarily. But even so, I’ve decided that I can appreciate it in a separate sort of way because there are a few key scenes that still adhere strongly to the book’s themes of seafaring adventure, self-examination, and allegorical references to the guidance of a divine Savior. The children’s dramatic entrance into Narnia through the painting, Eustace’s explanation of how Aslan “undragoned” him, and the final scene in which the children bid a touching and emotional goodbye to Caspian and Aslan are all poignant and clearly refer back to their source.

This is also why I stick up for the 2005 version of Pride and Prejudice with Keira Knightley. Though the story is compressed significantly, it still captures the emotion and heart of Austen’s novel. The conflict is still obvious: that these Bennet sisters are trapped in a system that insists they marry for money and safety, but Elizabeth wants more. And the journey that brings her and Darcy together is still clearly complicated by her quick judgment, his focus on societal expectations, and their stubbornness. And many of the variances from the novel serve to expand on their emotions and thoughts throughout the process. So even though there are some deviations, it tells the same story with the same sparkling romance and humor (read more on the Pride and Prejudice screen adaptations here).

So, all that to say, even though I will probably still tell you the book is better, movies are good too. I will be critical, but it's important to remember that they are simply different. Obviously, personal preference will come in, and people are going to be pickier about movies that are based on their favorite books, but hopefully these tips are helpful for you too! For no extra charge, here are a few book-to-film adaptations that I think really get it right: 2005 version of The Lion, the Witch, and the Wardrobe starring Georgie Henley, 2009 version of Emma starring Romola Garai, and The Help from 2011 starring Viola Davis and Emma Stone. Happy reading and watching!

Photo Credit: FreeImages.com