Pride & Prejudice is a 2005 period romance film directed by Joe Wright, who made it as his first feature film. It is based on Jane Austen’s 1813 novel of the same name. The film follows five sisters from an English family that owns land as they face challenges related to marriage, morality, and misunderstandings. Keira Knightley plays Elizabeth Bennet, and Matthew Macfadyen portrays Mr. Darcy, who becomes romantically involved with her.
The screenwriter, Deborah Moggach, aimed to keep the script very close to the novel, writing from Elizabeth’s perspective and keeping much of the original dialogue. Joe Wright encouraged changes to the story, including altering the relationships within the Bennet family. Wright and Moggach set the film in an earlier time period and avoided showing a perfectly clean version of the Regency era. Instead, they depicted a more realistic version. The film was shot entirely on location in England over an 11-week period. Casting was difficult because of previous portrayals of some characters. The filmmakers had to balance their choices with the studio’s preference for well-known actors. Keira Knightley was famous for her role in the Pirates of the Caribbean film series, while Matthew Macfadyen had no international recognition at the time.
Produced by Working Title Films in partnership with StudioCanal, Pride & Prejudice was released on September 16, 2005, in the United Kingdom and on November 11, 2005, in the United States. The film explores themes of realism, romanticism, and family. It was marketed to a younger, general audience, with promotional materials mentioning its connection to the 2001 romantic comedy Bridget Jones’s Diary before highlighting its roots in an Austen novel. Scholars who study Austen’s work noted that Wright’s film created a new type of movie by combining traditional heritage film elements with techniques that appeal to younger viewers.
The film was financially successful, earning $121.6 million worldwide with a $28 million budget. Critics praised Keira Knightley’s performance, and the film received four Academy Award nominations, including Best Actress for Knightley, who was 20 years old at the time. This made her the third-youngest Best Actress nominee at that point. The film also won the BAFTA Award for Outstanding Debut by a British Writer, Director, or Producer for Joe Wright.
Plot
In the late 1700s in England, Mr. and Mrs. Bennet and their five daughters—Jane, Elizabeth, Mary, Kitty, and Lydia—live at Longbourn, their home in Hertfordshire. Mrs. Bennet wants her daughters to find good marriages, so she is happy when Charles Bingley, a wealthy unmarried man, moves to Netherfield Hall, a nearby estate.
At a social gathering called an assembly ball, Bingley, his sister Caroline, and his friend Mr. Darcy meet members of the local community. Bingley and Jane quickly become friends, but Elizabeth dislikes Darcy and hears him say unkind things about her.
Later, Jane visits the Bingleys and becomes ill, staying to recover. While visiting Jane at Netherfield, Elizabeth argues with Caroline and Darcy. Jane later recovers, and Mr. Bennet’s cousin, Mr. Collins, a proud clergyman, visits the Bennets. Because Longbourn is passed down to male relatives, Collins will inherit the estate if no male heir remains.
Mr. Collins tells Mrs. Bennet he plans to propose to Jane, but she says Jane is already engaged and suggests Elizabeth instead. The Bennet sisters also meet George Wickham, a charming soldier whose father worked for the Darcy family. Wickham tells Elizabeth that Mr. Darcy denied him money he was owed.
At a ball at Netherfield, Elizabeth dances with Darcy, but their interaction is uncomfortable. The next day, Collins proposes to Elizabeth, who refuses him. Her father supports her decision, even though her mother is upset.
Elizabeth is surprised when her friend Charlotte, worried about being alone, announces her engagement to Mr. Collins. The Bingley family unexpectedly leaves for London. Elizabeth encourages Jane to visit her aunt and uncle, the Gardiners, in London, hoping she might reconnect with Bingley.
Months later, Elizabeth visits Charlotte and Mr. Collins, who live near Lady Catherine de Bourgh’s estate in Kent. There, she meets Darcy, who is Lady Catherine’s nephew and visiting with Colonel Fitzwilliam. Fitzwilliam mentions that Darcy helped Bingley end a relationship with a family Darcy considered unsuitable.
Elizabeth is upset and then meets Darcy, who proposes to her, saying he loves her despite her lower social status. She refuses him, criticizing his actions that separated Jane and Bingley and his treatment of Wickham.
Darcy gives Elizabeth a letter explaining that Wickham wasted money left to him by Darcy’s father and tried to elope with Darcy’s younger sister, Georgiana, to steal her fortune.
Elizabeth returns home, and Jane returns with the Gardiners. During a trip to the Peak District, Elizabeth visits Pemberley, Darcy’s estate in Derbyshire. There, she meets Darcy again, who is now kinder, and Georgiana praises Elizabeth.
A letter from Jane reveals that Lydia has run away with Wickham. Darcy leaves quickly, and Elizabeth returns home, believing she will never see Darcy again. Her mother fears Lydia’s actions will harm her other daughters’ chances of good marriages.
After waiting, Mr. Gardiner reports that Lydia and Wickham are married and have returned to Longbourn. Lydia reveals that Darcy found them and paid for their wedding and Wickham’s military position.
Bingley and Darcy return to Netherfield and visit Longbourn. Bingley proposes to Jane, who accepts. Later that night, Lady Catherine visits Elizabeth and insists she must not marry Darcy, claiming he was once engaged to her daughter. Elizabeth tells her to leave.
The next morning, Elizabeth meets Darcy, who apologizes for his aunt’s behavior. He expresses his love again, and Elizabeth, now changed, accepts his proposal. She tells her father the truth about Darcy’s actions, and Mr. Bennet agrees to their marriage, happy for his daughter.
Production
The film Pride & Prejudice was made through a partnership between British studio Working Title Films (which worked with French company StudioCanal) and its American parent company, Universal Studios. At the time, Working Title was known for making popular films like Bridget Jones's Diary and Love Actually, which had large international audiences, not films about historical events. The studio’s co-chairman, Tim Bevan, said the goal was to "bring Austen’s original story, focusing on Elizabeth, back to the big screen for everyone to enjoy." The film had a budget of £22 million ($28 million), which was considered relatively low. It was expected to do well at the box office, partly because earlier films like Romeo + Juliet (1996) and Shakespeare in Love (1998) had been successful, and there was growing interest in Jane Austen’s work.
Screenwriter Deborah Moggach worked on the script for over two years with little guidance from the studio. She wrote about ten drafts at first, and she aimed to be as faithful to Austen’s novel as possible. She said the story was "so beautifully shaped" and that she wanted to "keep it as it is" unless it was broken. While she could not include all of the novel’s dialogue, she tried to keep much of it. Her first draft was closest to the book, but later versions removed some characters and storylines. She originally wrote scenes from Elizabeth’s perspective, as the novel does, but later added scenes from a male viewpoint, such as when Bingley practices his marriage proposal, to show Darcy and Bingley’s friendship and to make Darcy seem more human. Small details, like events happening in France, were added to reflect the time period. Moggach was the only credited screenwriter, but playwright Lee Hall contributed early ideas.
Joe Wright, a television director, was hired in 2004 for his first film. He was an unusual choice for a romantic drama because of his past work in social realism films. The producers were impressed by his work and sent him the script even though he had not read Austen’s novel. After reading the script, he said he was moved by it and then read the novel, calling it "an amazing piece of character observation" and "the first piece of British Realism." He wanted to focus on young people experiencing emotions for the first time, not older characters.
Wright had only seen the 1940 film version of Pride & Prejudice before working on the project. He avoided watching other adaptations to avoid copying ideas and to be original. He studied other period films, like Sense and Sensibility and Far from the Madding Crowd, and said the last one influenced his work the most. He also drew inspiration from teen romance films to create a sense of flirtation.
Wright joined the project while Moggach was on her third draft. Though she wanted to keep Austen’s dialogue, Wright said he did not want to "be too reverential" to it, as he believed people in the past did not speak that way. Some scenes, like the discussion about accomplished women, stayed close to the novel, but others mixed modern language with older-sounding sentences. He changed the setting from the 1813 publication date of the novel to the late 18th century, partly to show the influence of the French Revolution on British society and partly because he disliked the style of dresses from the later period. This choice made the film look different from other Austen adaptations. Compared to the 1995 BBC version, which had Colin Firth and Jennifer Ehle, the producers wanted to avoid the "perfect clean Regency world" stereotype. They chose a more rural, "muddy hem" version of Longbourn to show the Bennets’ close connection to their poor rural life.
Casting was a challenge for Wright, who wanted actors who matched the characters’ ages and had good chemistry. He required three weeks of rehearsals in improvisation workshops. He also had to balance his choices with the producers’ desire for well-known actors. Though he did not initially think Keira Knightley, known for Bend It Like Beckham and Pirates of the Caribbean, was right for Elizabeth, he cast her after learning she was a tomboy with a lively mind and humor. Knightley, an Austen fan since age seven, worried about copying Jennifer Ehle’s performance but felt Elizabeth was "funny, witty, and intelligent." She studied etiquette, history, and dancing for the role.
Major themes and analysis
Scholars who study film, literature, and Austen's work have observed the presence of romance and romantic themes in the film adaptation of Pride & Prejudice, especially when compared to earlier versions. Sarah Ailwood described the film as "an essentially Romantic interpretation of Austen's novel," pointing to the director, Joe Wright, focusing on nature to show Elizabeth and Darcy as Romantic figures. Wright's version highlights Austen's exploration of the Romantic self and how individuals, especially women, might find personal fulfillment in a society that limits their choices. Catherine Stewart-Beer, a professor at Oxford Brookes University, noted that Elizabeth standing on a cliff in Derbyshire reflects a style of Postmodern Romanticism, though she felt it was more similar to Wuthering Heights by Emily Brontë than Austen's original work. Lydia Martin, a scholar from the University of Provence, stated that the film's Romantic themes are shown through changes in character relationships, the music, and the way landscapes are presented.
Realism is a key feature of the film, as Wright explained in interviews and on the DVD commentary. In a 2007 article, Carole Dole, a professor at Ursinus College, described the film as a mix of "irreverent realism" that appeals to younger audiences and the traditional elements of heritage films, such as grand houses and historical details. This realism includes showing Longbourn as a working farm with animals, as Dole explained, with scenes like Elizabeth playing on a rope swing in muddy yards. Dole also noted that the film shows how heritage films have evolved, becoming more flexible while still honoring their roots. Jessica Durgan agreed, saying the film both challenges and honors heritage traditions to reach a wider audience.
Moggach, who grew up with three sisters, was especially interested in the family relationships in the story. Barbara K. Seeber, a professor at Brock University, noted that the film focuses more on family than romance compared to the novel. For example, Mr. Bennet is shown as a kind and caring father, and his role in the family's problems is less emphasized. Seeber also observed that the film portrays Mrs. Bennet in a more sympathetic way, with Mr. Bennet shown as a devoted husband and father.
Stewart-Beer and Sally B. Palmer, an Austen scholar, pointed out changes in how the Bennet family is shown. Stewart-Beer wrote that the family home, Longbourn, is portrayed as a happier and more stable place than in Austen's novel, with Mr. and Mrs. Bennet appearing to care for each other. Producer Paul Webster, in a DVD feature, said the film highlights the love within the Bennet family, which supports the central love story between Elizabeth and Darcy.
Wright wanted the film to reflect Elizabeth's perspective as much as possible, introducing Darcy only when she meets him. This focus on Elizabeth led to changes from the novel, such as her growing emotional distance from her sister Jane. Wright believed the book made their relationship too sentimental and wanted to show them growing apart. Moggach aimed to have Elizabeth keep her feelings private, which made the audience feel more connected to her struggles. She believed the film's humor comes from the pain Elizabeth endures.
Stewart-Beer noted that Elizabeth's interactions with Darcy and her refusal to obey Lady Catherine are more bold and rebellious than in Austen's version. Laurie Kaplan, a professor at George Washington University, said Wright's focus on Elizabeth aligns with the novel, but removing a key line—"Till this moment, I never knew myself"—changes the story's meaning and disappoints viewers who expected it.
Release
After many adaptations of Jane Austen's works in the late 1990s and early 2000s, Pride & Prejudice was made to return audiences to the style of period dramas, which many believed showed Austen's stories more accurately. Although the book was already known to the public, the film needed to stand out from other similar movies. It was marketed to attract younger viewers, with one person calling it "the ultimate chick-flick romance" and "more commercial than earlier Austen films." Another noted that the film brought "millennial girlhood" to large movie theaters. If the character Lizzie, played by Jennifer Ehle, was seen as a favorite older, independent Austen heroine, then Mr. Darcy, played by Matthew Macfadyen, was viewed as a younger, attractive version of a good girl. The film's title used an ampersand (&) instead of the word "and," similar to the 1996 film Romeo + Juliet.
At the time of the film's release, Matthew Macfadyen was already a well-known actor. He appeared in all promotional materials, much like Colin Firth in the 1995 adaptation of Pride and Prejudice. Some critics compared the film's main poster to that of Sense and Sensibility (1995), which was also aimed at a similar audience. Advertising for the film mentioned that it was produced by the same company that made Bridget Jones's Diary, a 2001 romantic comedy, before introducing Austen's story. Before its release, fans could download pictures and screensavers online, which highlighted differences between this version of Pride and Prejudice and earlier adaptations. Lydia Martin noted that compared to past films, the marketing focused more on the romantic relationship between the main characters than on their conflicts. This was shown in how the characters were positioned in images and the tagline: "Sometimes the last person on earth you want to be with is the one you can't be without."
On September 11, 2005, Pride & Prejudice premiered at the Toronto International Film Festival as a special event. It was released in UK and Irish cinemas on September 16, 2005. The film reached number one in its first week, earning £2.5 million ($4.6 million) across 397 screens. It remained at the top for two additional weeks, earning over £9 million in the UK by that time. At its widest release, the film was shown on 412 screens.
In October 2005, the film opened at number one in Australia, earning $1.6 million during its opening weekend. It debuted in the United States on November 11, 2005, earning $2.9 million on 215 screens. Two weeks later, it was shown on 1,299 screens, earning $7.2 million. The film left theaters in the US on February 24, 2006, with a total US gross of $38,405,088. Jack Foley, president of distribution for Focus Features (the film's US distributor), said the movie's success in America was due to Austen's popularity among "baby boomers" and her status as a well-known "brand."
Between September 2005 and May 2006, Pride & Prejudice was released in 59 other countries by United International Pictures. Worldwide, the film earned $121,147,947, making it the 72nd-highest-grossing film in the US and the 41st-highest internationally in 2005.
In the US and UK, Universal Studios Home Entertainment released the film on VHS and DVD in February 2006, offering both widescreen and full-frame versions. Bonus features included audio commentary by director Joe Wright, a look at Austen's life, and the ending scene where Elizabeth and Darcy kiss. In 2007, Universal released a deluxe DVD edition to match the release of Wright's film Atonement. This version included additional features, such as the original soundtrack CD, a collectible book, and special content not included in the original DVD. In the US, a Blu-ray version was released in 2010, also featuring bonus materials.
For its 20th anniversary, the film was re-released on April 18, 2025. During its second weekend, the re-release earned $5 million.
Reception
Pride & Prejudice was the second film version of the story, following the 1940 black-and-white movie starring Greer Garson and Laurence Olivier. Until 2005, The Times considered the 1995 television series so popular and well-loved that it became a standard for fans. When Joe Wright made a new film version in 2005, some fans of Jane Austen were unsure about it, especially because of changes to the story and the way characters were cast. The New Yorker joked that the film had "nothing to do with Miss Austen's original work." Critics noted that the Bennet family, who were wealthy landowners in the novel, were shown as simple country people in the film, with poor manners and a home described as "a barnyard."
In 2005, The Daily Mirror compared six major adaptations of Pride & Prejudice and gave the highest scores—9 out of 10—to both the 1995 series and the 2005 film. Other versions received 6 or fewer points. On Rotten Tomatoes, the film received an 87% approval rating from 186 critics, with an average score of 7.7 out of 10. The site’s summary said the film was "fresh and enjoyable" because of strong performances and modern filmmaking. On Metacritic, the film scored 82 out of 100 based on 37 reviews. Audience ratings from CinemaScore gave the film an "A−" grade.
Some critics said the film’s short length did not show the same depth as the television series and called Wright’s version "not as daring" as the 1995 series. JASNA president Joan Klingel Ray liked the younger ages of the actors playing Mr. Darcy and Elizabeth Bennet, saying the older actor who played Mr. Darcy in the 1995 version was "too heavy" for the role. Peter Bradshaw of The Guardian praised Keira Knightley’s performance as "outstanding" but said the casting of the main characters was "a little less mature" than in the 1995 version. He added that only someone who preferred the 1995 version could dislike Knightley’s performance. The Daily Telegraph critic thought Knightley’s acting was "good-mannered but not very exciting" and said there was "little spark" between her and the actor playing Mr. Darcy.
Critics had mixed opinions about the actor who played Mr. Darcy. Some were surprised by his performance, while others said he did not show the slow emotional change seen in the book. However, some praised him for matching the character’s nervousness and sensitivity better than the actor in the 1995 version.
Other aspects of the film also received attention. The Sydney Morning Herald criticized the film for not paying enough attention to the customs of Austen’s time. Time Out said the film focused too much on romance and not enough on Austen’s sharp wit. Variety praised Wright and the screenwriter for capturing the youthful spirit of the novel and creating a detailed setting. The San Francisco Chronicle called the film a "spectacular debut" for Wright, saying it was "creatively reimagined and sublimely entertaining." USA Today described the film as "a stellar adaptation" that "bewitches the viewer" with a mix of emotion and wit.
Influence and legacy
Three years after the film was released, Knightley remained connected to Elizabeth Bennet in the minds of younger viewers who had not seen the 1995 version. Because people had different opinions about the film, JASNA published a special edition of its online journal, Persuasions On-Line, in 2007. This edition included contributions from 19 Austen scholars from six countries. The goal was to encourage discussion and help scholars analyze the film more deeply. JASNA had done this only once before, for the 1996 film Emma.
Pride & Prejudice influenced later films in the costume drama and heritage film genres. Some literary critics argued that Wright’s adaptation made Austen’s story easier for mainstream audiences to enjoy. Carole Dole noted that the film’s success likely led to future Austen adaptations featuring younger actors and filmmaking styles that appeal to younger viewers, while still including the visual style of heritage films. She used the 2007 film Becoming Jane, starring Anne Hathaway, as an example. Jessica Durgan explained that Pride & Prejudice created a new type of movie by avoiding the usual style of heritage films, which helped attract younger audiences without turning away fans of heritage films.
The production of Pride & Prejudice began Wright’s long-term partnership with Working Title Films, which lasted for four projects. Many members of the film’s cast and crew later worked with Wright on other projects. For his adaptation of Atonement, which he saw as a direct response to Pride & Prejudice, Wright hired Knightley, Blethyn, Marianelli, Thibaudet, Greenwood, and Durran. Atonement shares themes with Austen’s work, such as a young writer living in an isolated English country house who confuses desires and fantasies with truth and fiction. Wright’s 2009 film The Soloist included Hollander, Malone, and Marianelli. Hollander also appeared in Hanna (2011). Wright’s 2012 adaptation of Anna Karenina featured Knightley, Macfadyen, Marianelli, Durran, and Greenwood. This film was produced by Bevan, Eric Fellner, and Webster.
In December 2017, Netflix reported that a person from Chile watched Pride & Prejudice 278 times in one year. Later, it was revealed that the person was a 51-year-old woman who described herself as “obsessed” with the film and saw Elizabeth Bennet as “a feminist icon.” In July 2025, the film ranked fiftieth on the “Readers’ Choice” list of The New York Times’ “The 100 Best Movies of the 21st Century.”