There have
been more Jane Austen adaptations than a fan can count, but Northanger
Abbey is one book that has remained relatively untouched through the
years. Perhaps because it is fanciful, or because the heroine is rather
distracted, or maybe it merely stumps screenwriters because of its
unusual themes. Whatever the cause, Andrew Davis got his hands on it,
and this is the result.
Of the utmost
excitement to any young woman in the modern age is the Gothic romance
novel, full of heaving bosoms and dashing heroes rescuing fair maidens
from evil villains with the strike of a hand or the thrust of a sword.
Catherine Moreland (Felicity Jones) lives for these volumes, hastening
to the local book shop to purchase whatever new title happens to catch
her fancy, and spending hours discussing the books with her friends in
intimate whispers. Recently transported to Bath for the season, it does
not take Catherine long to make the acquaintance and friendship of
Isabella Thorpe (Carey Mulligan), who shares her passion for literary
romances, and introduces her into society. Within this gathering of
people is Henry Tilney (JJ Field) and his sister Eleanor (Catherine
Walker), both of whom become very fond of her.
Through
a series of circumstances, Catherine winds up at their estate,
Northanger Abbey, and her overactive imagination leads her to suspect
dark things of their father (Liam Cunningham). It seems that Mrs. Tilney
died under suspicious circumstances while her children were out of the
house. The result is an entertaining way to spend two hours that
contains none of the brilliance of the book, but is nevertheless
engaging. Felicity is one of the more beautiful girls cast in a leading
lady role in the most recent onslaught of BBC Austen costume dramas, and
her enormous eyes and whimsical mannerisms are ideal for Catherine, who
has become a little too involved in her gothic romances to be entirely
sensible. But it is Cunningham who succeeds in stealing most of his
scenes, for he is a little
too interested in Catherine, and a little too dark-tempered to be
entirely above suspicion.
In some
respects, I feel Davis in his usual sensuality-craved style enjoyed
toying with the motivations behind the actions of most of the main
characters; he has certainly succeeded in slipping in just enough
sensuality to be mildly problematic without becoming overly offensive.
Isabella is seduced and left by a scoundrel; we see her wrapped in
bedclothes, attempting to persuade him to reassure her that they will be
married now, but his disinterest is evident. More troubling is a dream
Catharine has in which Henry comes across her bathing in the woods, and
pulls her up out of the tub, presumably seeing her naked. (The audience
gets a grand view of her bare back.) In other delusions, she envisions
herself as various damsels in distress from her fanciful books, always
in some peril from an ill-meaning villain. There is some violence
present in these melodramatic flashes, along with a good deal of
humorous over-acting.
Where
Persuasion was rather dull, and Mansfield Park passionless,
Northanger Abbey is actually a decent film. The production value is
reasonable and the actors have a nice sense of chemistry together,
whether it is between friends or potential lovers. It is all too easy to
see the mistakes Catherine makes, and this forms her into a likable and
flawed character who is entirely human. She is not above chastising her
own behavior, or learning from her mishaps. Fortunately for Catherine,
mistakes can be overcome with a little humility. The same could be said
of the film itself, for it does founder on occasion but in the end
leaves the audience with a smile on their face.
NORTHANGER
ABBEY
Through
a series of circumstances, Catherine winds up at their estate,
Northanger Abbey, and her overactive imagination leads her to suspect
dark things of their father (Liam Cunningham). It seems that Mrs. Tilney
died under suspicious circumstances while her children were out of the
house. The result is an entertaining way to spend two hours that
contains none of the brilliance of the book, but is nevertheless
engaging. Felicity is one of the more beautiful girls cast in a leading
lady role in the most recent onslaught of BBC Austen costume dramas, and
her enormous eyes and whimsical mannerisms are ideal for Catherine, who
has become a little too involved in her gothic romances to be entirely
sensible. But it is Cunningham who succeeds in stealing most of his
scenes, for he is a little
too interested in Catherine, and a little too dark-tempered to be
entirely above suspicion.
Where
Persuasion was rather dull, and Mansfield Park passionless,
Northanger Abbey is actually a decent film. The production value is
reasonable and the actors have a nice sense of chemistry together,
whether it is between friends or potential lovers. It is all too easy to
see the mistakes Catherine makes, and this forms her into a likable and
flawed character who is entirely human. She is not above chastising her
own behavior, or learning from her mishaps. Fortunately for Catherine,
mistakes can be overcome with a little humility. The same could be said
of the film itself, for it does founder on occasion but in the end
leaves the audience with a smile on their face.