Abstract
This chapter compares the female protagonists in the British television network ITV’s 2007 film adaptations of Northanger Abbey, Mansfield Park, and Persuasion to the original characters in Austen’s novels. Each film strives to create what Penny Gay calls the ‘double effect’ of successful adaptation of remaining broadly faithful to the source text and resonating with the interests of its viewers. The novels and their adaptations are influenced by the varying gender politics of their own periods: in particular, the heroines in the films reflect diverse twenty-first-century attitudes to femininity. The ways in which the characteristics of the leading lady diverge from the corresponding fictional heroine’s attributes vary from film to film; this means that Austen’s novels are not always more conservative than adaptations of them.
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Notes
- 1.
Julia Day reported on this in ‘ITV falls in love with Jane Austen’, The Guardian, November 10, 2005, Nexis.
- 2.
Quoted in Lee Glendinning, ‘New generation of teenagers prepare to be seduced with rebirth of Austen’, The Independent, February 16, 2007, Nexis.
- 3.
Glendinning, ‘New generation’. Mansfield Park, directed by Iain B. MacDonald (2007; ITV, 2007), DVD; Northanger Abbey, directed by Jon Jones (2007; ITV, 2007), DVD; Persuasion, directed by Adrian Shergold (2007; ITV, 2007), DVD.
- 4.
Dudley Andrew, ‘The Well-Worn Muse: Adaptation in Film History and Theory’, in Narrative Strategies, eds Syndy M. Conger and Janice R. Welsch (Illinois: Western Illinois University, 1980), 10.
- 5.
That stated, MacDonald’s Mansfield Park changes and cuts some of the plot: most notably, Fanny is not sent back to Portsmouth (she has to stay at Mansfield Park when the others visit Lady Bertram’s mother). So Susan does not become Lady Bertram’s companion when Fanny marries Edmund. Shergold’s Persuasion is influenced by the cancelled chapters of Austen’s novel and then goes in another direction entirely in the final scene; I will discuss the significance of these changes in due course.
- 6.
Owen Gibson, ‘ITV calls in Jane Austen to halt slide in ratings’, The Guardian, November 11, 2005, Nexis.
- 7.
Penny Gay, ‘Sense and Sensibility in a postfeminist world: sisterhood is still powerful’, in Jane Austen on Screen, eds Gina and Andrew F. Macdonald (Cambridge: Cambridge University Press, 2003), 90.
- 8.
Other critics who argue that an adaptation reflects its own ‘historical moment’ in line with my own thinking in this area include Chris Louttit, ‘Cranford, Popular Culture, and the Politics of Adapting the Victorian Novel for Television’, Adaptation 2.1 (March 2009): 35, and Ellen Belton, ‘Reimagining Jane Austen: the 1940 and 1995 film versions of Pride and Prejudice’, in Jane Austen on Screen, eds Gina and Andrew F. Macdonald (Cambridge: Cambridge University Press, 2003), 175.
- 9.
Iain B. MacDonald’s Mansfield Park is mentioned by Nicola Minott-Ahl in a journal article on Mansfield Park adaptations and examined exclusively by Marie N. Sørbø in a chapter from her book on selected Austen adaptations; Jonathon Shears has written about Jon Jones’s Northanger Abbey and other erotic television and film adaptations in a chapter in an edited collection; Adrian Shergold’s Persuasion has been considered alongside two other adaptations of the novel by Gina and Andrew Macdonald in a chapter in an edited collection and very cursorily by Eric C. Walker in an online essay; Lisa Hopkins has written briefly about all three as part of a chapter from her book on Shakespeare and Austen adaptations. See: Nicola Minott-Ahl, ‘Does Jane Austen Write Screenplays? Mansfield Park and the Dilemma of Jane Austen in Film’, Quarterly Review of Film and Video 29.3 (April 2012): 252–67, http://dx.doi.org.ezproxy.uwe.ac.uk/10.1080/10509200903077650; Marie N. Sørbø, ‘The 2007 TV Film: “Some Much Needed Sizzle”’, in Irony and Idyll: Jane Austen’s Pride and Prejudice and Mansfield Park on Screen (Amsterdam: Rodopi, 2014), 347–65; Jonathon Shears, ‘“Why Should I Hide My Regard?”: Erotic Austen’, in Television, Sex and Society: Analyzing Contemporary Representations, eds Basil Glynn, James Aston and Beth Johnson (New York and London: Continuum, 2012), 127–42; Andrew Macdonald and Gina Macdonald, ‘Visualizing Empire in Domestic Settings: Designing Persuasion for the Screen’, in Women, Popular Culture, and the Eighteenth Century, ed. Tiffany Potter (Toronto, Buffalo and London: University of Toronto Press, 2012), 274–91; Eric C. Walker, ‘Austen and Cavell’, Romantic Circles, accessed 15 October 2017: https://www.rc.umd.edu/praxis/cavell/praxis.cavell.2014.walker.html; and Lisa Hopkins, ‘Modernity: Mansfield Park (dir. Iain B. MacDonald, 2007), Becoming Jane (dir. Julian Jarrold, 2007), Pride and Prejudice (dir. Joe Wright, 2005), Northanger Abbey (dir. Jon Jones, 2007) and Shakespeare Retold’, in Relocating Shakespeare and Austen on Screen (Basingstoke: Palgrave Macmillan, 2009), 130–62.
- 10.
Jane Austen, Mansfield Park, ed. John Wiltshire (Cambridge: Cambridge University Press, 2013), 171, 29.
- 11.
Anne Mellor and Roxanne Eberle, ‘An Interview with Anne Mellor’, Romantic Circles, recorded March 12, 2012, accessed 7 September 2017, https://www.rc.umd.edu/praxis/mellor_interview/HTML/praxis.2013.transcript_all.html
- 12.
Mellor is influenced by Claudia Johnson’s groundbreaking work Jane Austen: Women, Politics and the Novel (Chicago and London: University of Chicago Press, 1988). In her chapter on Mansfield Park, Johnson suggests that Sir Thomas is akin to the ‘model paternalist’ of the period, ‘a man who believes that the emancipation of his slaves would not make them happy, who sees his guardianship as an act of kindness on behalf of dependents [sic] who cannot act for themselves, and who renders his slaves orderly and obedient by developing their capacity to feel grateful for his own kindness’ (107). Fanny is ‘like a grateful slave’ who ‘lets particular and small acts of kindness overshadow a larger act of cruelty’ (Johnson, Jane Austen, 108). Fanny’s position as coerced advocate of this ideological system makes the novel ‘a bitter parody of conservative fiction’, according to Johnson (Jane Austen, 96). Johnson’s monograph has influenced my reading of Austen’s novels profoundly.
- 13.
Hopkins, ‘Modernity’, 137.
- 14.
Sørbø, ‘The 2007 TV Film’, 365.
- 15.
Minott-Ahl, ‘Does Jane Austen’, 257.
- 16.
Mansfield Park, MacDonald.
- 17.
Mansfield Park, MacDonald.
- 18.
Sørbø, ‘The 2007 TV Film’, 352.
- 19.
Jane Austen, Mansfield Park, 258.
- 20.
Mansfield Park, MacDonald.
- 21.
Mansfield Park, Macdonald.
- 22.
Tony Allen-Mills, ‘Free at last: alpha teenage girls on top’, The Sunday Times, 15 October 2006, Nexis.
- 23.
Austen, Mansfield Park, 231.
- 24.
Mansfield Park, Macdonald.
- 25.
Ibid.
- 26.
Prior to this adaptation, Patricia Rozema wrote and directed an interpretation of the novel that portrays Sir Thomas as a sexually exploitative slave owner. See Mansfield Park, directed by Patricia Rozema (1999; Miramax, 1999), DVD.
- 27.
Austen, Mansfield Park, 472.
- 28.
Ibid., 507.
- 29.
There is one instance in the adaptation where Fanny is more compliant than in the novel, namely when she silently agrees to act in Lovers’ Vows. However, the adaptation does not place as much emphasis on the play as a test of the characters’ morality as the novel does, so Fanny’s acquiescence is not very significant.
- 30.
Austen, Mansfield Park, 12, 111.
- 31.
Johnson, Jane Austen, 95.
- 32.
Both Hopkins and Sørbø note that Piper’s Fanny Price is physical and not prone to headaches. See Hopkins, ‘Modernity’, 136, and Sørbø, ‘The 2007 TV Film’, 351.
- 33.
Hopkins, ‘Modernity’, 136.
- 34.
Ibid.
- 35.
Austen, Mansfield Park, 111.
- 36.
Ibid., 31.
- 37.
Ibid., 79.
- 38.
Andrew Culf, ‘FA told to let girls play football with the boys’, The Guardian, 26 July 2006, Nexis.
- 39.
Austen, Mansfield Park, 15.
- 40.
Mansfield Park, MacDonald.
- 41.
Austen, Mansfield Park, 231.
- 42.
Sørbø, ‘The 2007 TV Film’, 353.
- 43.
Sørbø makes a similar point. She considers in more detail most of the moments I have just mentioned, suggesting that the ‘new scenes … reveal his unconscious attraction to Fanny’ (ibid.).
- 44.
Austen, Mansfield Park, 543–5.
- 45.
Sørbø, ‘The 2007 TV Film’, 356.
- 46.
Hopkins, ‘Modernity’, 136.
- 47.
Pride and Prejudice, directed by Simon Langton (1995; BBC, 2005), DVD.
- 48.
‘Bootylicious’, Oxford English Dictionary Online, 2004 (Oxford University Press, 2017).
- 49.
Sørbø describes it as ‘loose and unkempt (in an affected simplicity of style that did not come into fashion until the twenty-first century)’ (‘The 2007 TV Film’, 352).
- 50.
Ibid.
- 51.
‘Opinions of Mansfield Park: collected and transcribed by Jane Austen’, in Jane Austen: the Critical Heritage Volume 1, 1811–1870, ed. Brian Southam (London: Routledge and Kegan Paul, 1968, repr. 1986), 48–9, 49.
- 52.
Sarah Cardwell, ‘Literature on the small screen: television adaptations’, in The Cambridge Companion to Literature on Screen, edited by Deborah Cartmell and Imelda Whelehan (Cambridge: Cambridge University Press, 2007), 193.
- 53.
Of the three adaptations, this one has generated the least criticism: Hopkins (‘Modernity’) and Shears (‘Why Should I’) discuss it briefly.
- 54.
Jane Austen, Northanger Abbey, eds Barbara M. Benedict and Deidre Le Faye (Cambridge, Cambridge University Press, 2013), 10.
- 55.
Ibid., 69. The same is true of Eleanor Tilney.
- 56.
Ibid., 143.
- 57.
Quoted Hugh Davies, ‘From Archers temptress to Jane Austen heroine’, The Daily Telegraph, 28 August 2006, Nexis.
- 58.
Two men give Catherine attention as she gets out of the carriage on arrival in Bath; a lecherous man gets very close to Catherine during her first ball; John Thorpe looks at Catherine approvingly when she dances with Henry Tilney for the first time; and two young men spy on Catherine and Isabella Thorpe in the circulating library and pump room.
- 59.
Shears, ‘Why Should I’, 139. It is evident that Davies is indebted to the 1986 adaptation of Northanger Abbey that Maggie Wadey wrote, particularly in his inclusion of the ‘erotic fantasy sequences’. Hopkins and Shears have noted that the 1986 version also featured ‘dream sequences’ (Hopkins, ‘Modernity’, 152). Shears notes, quite rightly, that ‘the fantasy sequences of the earlier version are much more disturbing’ (Shears, ‘Why Should I’, 139). See Northanger Abbey, directed by Giles Foster (1986; BBC 2012), DVD.
- 60.
Catherine’s voiceover describes a man ‘forcibly dragging behind him a beautiful girl, her features bathed in tears and suffering the utmost distress’ (Northanger Abbey, Jones). This is taken, edited, from Ann Radcliffe, The Romance of the Forest (Cambridge: Chadwyck-Healey, 1999), ProQuest Literature Online, 11.
- 61.
Northanger Abbey, Jones.
- 62.
See Matthew Lewis, The Monk, ed. Howard Anderson (Oxford: Oxford University Press, 1998), 89.
- 63.
Shears, ‘Why Should I’, 139.
- 64.
Radcliffe’s most famous novel concerns the orphaned heroine Emily St Aubert who is imprisoned by her guardian Count Montoni in the castle Udolpho. Ann Radcliffe, The Mysteries of Udolpho, ed. Bonamy Dobrée (Oxford: Oxford University Press, 2008).
- 65.
Davies admitted ‘taking the liberty of imagining’ this scene; see Davies, ‘From Archers temptress’.
- 66.
Northanger Abbey, Jones.
- 67.
Stephen Pile, ‘Billie: no Tardis, but plenty of cleavage’, The Daily Telegraph, 24 March 2007, Nexis. Let’s Talk Sex, presented by Davina McCall (Channel 4, 2007), television; Ulrika … Am I a Sex Addict?, presented by Ulrika Johnsson (Channel 4, 2007), television.
- 68.
Sex and the City, created by Darren Star (1998–2004; Channel 4, 1999–2004), television.
- 69.
Northanger Abbey, Jones.
- 70.
Ibid.
- 71.
Austen, Northanger Abbey, 162.
- 72.
Northanger Abbey, Jones. In the adaptation, Henry leaves the abbey after confronting Catherine about her suppositions; in the novel, he is kind to her after their confrontation, and he makes her welcome during the visit to Woodston.
- 73.
Austen, Northanger Abbey, 236, 233–4.
- 74.
Ibid., 239.
- 75.
Ibid., 256.
- 76.
Johnson, Jane Austen, 41.
- 77.
Cath Elliott, ‘Beware the anti-feminists’, The Guardian, 28 January 2009, Nexis.
- 78.
Northanger Abbey, Jones.
- 79.
Northanger Abbey, Jones; Austen, Northanger Abbey, 261.
- 80.
Northanger Abbey, Jones.
- 81.
This is common to all of Austen’s novels: none of them mention any children the heroines go on to have.
- 82.
‘Yummy mummy’, Oxford English Dictionary Online, 2006 (Oxford University Press, 2017).
- 83.
Rafael Behr, ‘Review: Books: For publishers, every day is Mother’s Day: The women who so identified with Bridget Jones a decade ago have now settled down and had children. The book industry noticed – and the current glut of “yummy-mummy lit” is the result’, The Observer, 18 March 2007, Nexis.
- 84.
Jane Fearnley-Whittingstall, ‘A-Z of family life’, The Times, 24 February 2007, Nexis.
- 85.
Jane Austen, Persuasion, eds Janet Todd and Antje Blank (Cambridge: Cambridge University Press, 2013), 6.
- 86.
Persuasion, Shergold; Austen, Persuasion, 64.
- 87.
Austen, Persuasion, 52.
- 88.
Ibid., 178–9.
- 89.
Macdonalds, ‘Visualizing Empire’, 284.
- 90.
G. J. Barker-Benfield, ‘Sensibility’, in An Oxford Companion to the Romantic Age: British Culture 1776–1832, ed. Iain McCalman (Oxford: Oxford University Press, 2001), 108.
- 91.
Jane Austen, Sense and Sensibility, ed. Edward Copeland (Cambridge: Cambridge University Press, 2013), 7.
- 92.
Austen, Persuasion, 77.
- 93.
Alexis Sayle, The Weeping Women Hotel (London: Sceptre, 2006).
- 94.
Helen Rumbelow, ‘It’s a result: men do like to cry after all’, The Times, 8 September 2000, Nexis.
- 95.
Austen, Persuasion, 41.
- 96.
Ibid., 119.
- 97.
Ibid., 98.
- 98.
Ibid.
- 99.
At one point in the adaptation, Anne actively resists another’s domination of her. After refusing to meet Lady Dalrymple and her daughter because she has a prior engagement with Mrs Smith and incurring her father’s ire as a result, Anne says her friend ‘is not the only poor widow in Bath who has little to live on and no surname of dignity’ (Persuasion, Shergold). In the novel, Anne thinks this (Austen, Persuasion, 171–2), so screenwriter Burke’s decision to have Hawkins’s Anne say it directly to Anthony Head’s Sir Walter is perhaps because it is the most expedient way to access her thoughts rather than an example that proves her strength of will.
- 100.
Macdonalds, ‘Visualizing Empire’, 285.
- 101.
Another moment of action occurs when Anne runs out of the concert hall to speak to Captain Wentworth before he leaves.
- 102.
Hopkins, ‘Modernity’, 154.
- 103.
Persuasion, Shergold.
- 104.
Macdonalds, ‘Visualizing Empire’, 285.
- 105.
Austen, Persuasion, 203.
- 106.
Ibid., 254, 255.
- 107.
Persuasion, Shergold; Austen, Persuasion, 254.
- 108.
Persuasion, Shergold; Austen, Persuasion, 256.
- 109.
Austen, Persuasion, 253.
- 110.
Johnson, Jane Austen, 159–60.
- 111.
In the 1819 poem Don Juan, Byron’s Donna Julia says that ‘Man’s love is of his life a thing apart, / ’Tis woman’s whole existence.’ Lord George Gordon Byron, Don Juan, in Romanticism, fourth edition, ed. Duncan Wu (Chichester: Blackwell, 2012), lines 1545–6.
- 112.
Austen, Persuasion, 69.
- 113.
Ibid., 25.
- 114.
Ibid., 91.
- 115.
Ibid., 183.
- 116.
Ibid., 75.
- 117.
Ibid., 76.
- 118.
Ibid., 200.
- 119.
Austen, Persuasion, 272, 275.
- 120.
Persuasion, Shergold. In contrast, the ending of the BBC’s 1995 adaptation of Persuasion, which was directed by Roger Michell and written by Nicholas Dear, is much more apt: Anne sails away with Captain Wentworth, having, presumably, cured him of his prejudice against women at sea. See Persuasion, directed by Roger Michell (1995; BBC, 2012), DVD. Of the adaptations of Persuasion they evaluate, the Macdonalds argue convincingly that Michell’s version is the closest in spirit to Austen’s novel (‘Visualizing Empire’).
- 121.
Austen, Persuasion, 160.
- 122.
Ibid., 21. The other reason is that it ages men prematurely.
- 123.
Ibid., 105.
- 124.
Ibid., 137.
- 125.
Ibid., 136.
- 126.
Ibid., 150. This is Mr Elliot’s view, articulated via free indirect speech.
- 127.
Johnson, Jane Austen, 163.
- 128.
Ibid., 165.
- 129.
Macdonalds, ‘Visualizing Empire’, 282. How Captain Wentworth would have been able to buy Kellynch remains a mystery. Sir Walter would have had to die and Mr Elliot sell it, but that would assume Wentworth would be wealthy enough to buy it. Walker states that ‘Kellynch as a wedding present from Wentworth to Anne is pure fantasy’ (‘Austen and Cavell’).
- 130.
Deidre Shauna Lynch, ‘Cult of Jane Austen’, in Jane Austen in Context, ed. Janet Todd (Cambridge: Cambridge University Press, 2005), 116.
- 131.
For more on nostalgia in the heritage film, see Andrew Higson, “Re-Presenting the National Past: Nostalgia and Pastiche in the Heritage Film,” in Fires Were Started: British Cinema and Thatcherism, 2nd ed., ed. Lester D. Friedman (London and New York: Wallflower Press, 2006), 91–109.
- 132.
Fay Weldon, ‘Jane to rescue; “Austen means class, virginity, family viewing. And everyone’s heard of her even if they haven’t read her”. Fay Weldon on why film-makers love England’s Jane’, The Guardian, 12 April 1995, Nexis.
- 133.
Tara Ghoshal Wallace, ‘Filming romance: Persuasion’, in Jane Austen on Screen, eds. Gina Macdonald and Andrew F. Macdonald (Cambridge: Cambridge University Press, 2003), 141.
- 134.
Minott-Ahl, ‘Does Jane Austen’, 252.
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Ballinger, G. (2018). Adapting Austen ‘for the new generation’: ITV’s 2007 Trilogy Mansfield Park, Northanger Abbey, and Persuasion. In: Hopkins, L. (eds) After Austen. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-95894-1_8
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