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Both the book and the film “Pride and Prejudice and Zombies” are based on the same basic premise, which is that the story of “Pride and Prejudice” is retold with the addition of zombies. This is a concept that is only mildly entertaining, but it was somehow turned into an entire book, which was somehow turned into a best seller, which inevitably meant that it had to be turned into a movie.
It is essentially Jane Austen’s classic story of social mores and machinations in 19th century England, down to characters, settings, plot points, and specific bits of dialogue; the only difference is that there are undead characters popping up here and there to make things even more complicated (authorship for the project goes cheekily to both Austen and Seth Grahame-Smith.) The novel, published in 2009, played this genre mash-up for dry and sly laughs, but the film, written and directed by Burr Steers, amps up the thrills and the gore. And that is a problem—not necessarily as a choice of narrative, but rather from the point of view of the technical aspects.
The large action sequences in “Pride and Prejudice and Zombies” are what set it apart from the literary source material on which it is based. However, these sequences are staged, lit, shot, and edited in such a confusing manner that it is frequently difficult to tell what is going on. Because there is no visual context for the assaults and no way to determine their source or size, these scenes have had all of their tension drained out of them, and it is impossible to become engaged in what is happening here. Even when this is done on purpose, such as when Steers makes frequent use of blurriness at the precise moment when a zombie is about to devour someone, the effect is still unsuccessful. Too often, “Pride and Prejudice and Zombies” is so darkened that it is incomprehensible, such as in a scene that takes place in a basement when the Bennet sisters are bantering while sparring in preparation for the next possible attack; the women have to worry about both marrying the right man and avoiding being eaten.
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If it has been a while since you read “Pride and Prejudice” in high school English class, let me refresh your memory: the story revolves around the feisty Elizabeth Bennet, played by Lily James. Elizabeth is the second-oldest of five daughters from a family of average means, and she is not nearly as preoccupied with marrying well as her mother, played by Sally Phillips. While her beautiful older sister, Jane (Bella Heathcote), begins a romantic relationship with the handsome and obscenely wealthy Mr. Bingley (Douglas Booth), Lizzie begins a love-hate relationship with Mr. Darcy, who is a close friend of Bingley and even more obscenely wealthy than Bingley himself (Sam Riley). As a result of the collision of social classes, sparks will fly. Misunderstandings take place, but they are eventually resolved, characters are made to acknowledge their pride as well as their prejudice, and in the end, everyone lives happily ever after.
Pride And Prejudice And Zombies Quiz
However, in the zombiefied version of the story, all of the Bennet girls have been trained to be warriors, and the social-strata element plays a role in determining where the training takes place (Japan for the elite, China for everyone else). Not only is George Wickham (Jack Huston) a predator and a dishonest person, but there is a possibility that he is not even fully alive. And the haughty Lady Catherine de Bourgh, played by the ferocious and sleek Lena Headey, is the most celebrated zombie-killer of them all, as evidenced by the eye patch she wears.
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Sometimes, this mixture works, mainly in the quieter, calmer moments, such as when the characters sit around in a drawing room cleaning their guns or one-upping each other while comparing their expertise in the deadly arts. Other times, this mixture doesn’t work. In addition, the sisters, who are getting ready to attend a ball, are taking extra precautions by smuggling daggers into their garters before doing their hair and putting on their most elegant gowns. In the script written by Steers, the quiet, understated exchanges have a greater impact on the reader than the chaotic, expansive set pieces.
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Regardless of the circumstances, James is a joy to watch in his role as Lizzie. If you saw her in last year’s production of “Cinderella” directed by Kenneth Branagh, you already have an idea of how tremendously appealing she can be. She is playing a very different kind of iconic figure here, but in both instances, there is something genuine about her screen presence that helps her appear approachable and genuine to the audience. But then again, several of their key exchanges take place within the context of some sort of physical fight, either with each other or against the stumbling, mumbling undead, which detracts from their inherent romantic tension rather than enhancing it. And she has decent chemistry with Riley as the arrogant and abrasive Darcy. But then again, she has decent chemistry with Riley as the arrogant and abrasive Darcy.
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This nuanced harmony of tones is something that can be challenging to achieve successfully. It is possible that Steers, whose diverse filmography includes titles such as “Igby Goes Down,” “17 Again,” and “Charlie St. Cloud,” wasn’t quite ready to expand his repertoire to this extent; however, there are very few directors who could pull it off successfully. When the inevitable adaptation of “Sense and Sensibility and Sea Monsters” does come along, maybe someone else will have cracked the code to the ultimate Jane Austen mash-up by then.
For more personality quizzes check this: Fifty Shades Of Black Quiz.
