Jane Austen Adaptations and the Problem with Casting

One of the things that adaptations struggle with when it comes to Jane Austen is the fact that many of her antagonists are supposed to be extremely attractive, while not all her main characters share that trait. Jane Austen has a major theme in her works about people who appear attractive might secretly be bad news. Or, that those who are either physically attractive or charming can get away with near murder! Several of the antagonist men should be just as or more attractive than the male leads, as I’ve talked about before:

1995 Sense & Sensibility

Who is more Physically Attractive? The Hero or Villain in Each Austen Novel…

Now physical attractiveness is a subjective thing, which is why it should be shown through other means. It’s not that you have to cast the most gorgeous actor (not that I wouldn’t love that), but we need something like, Disney’s Beauty and the Beast three women who sigh and pass out whenever Gaston does something manly. We need to see all of Meryton’s women open-mouthed and drooling, not just the Bennet sisters. Mr. Elton’s eyes rest on a random girl while he’s preaching and she blushes and starts giggling. You have to sell that they are really hot! There is actually a scene in Emma where the school girls run to the window to catch a glimpse of Mr. Elton.

This is one of the things 1995 Sense & Sensibility did really well. Their John Willoughby, played by Greg Wise, looked and felt like the male lead. If you didn’t know the story, you’d probably think that he was end game for Marianne Dashwood.

1995 Sense & Sensibility’s John Willoughby

Unfortunately, many adaptations seem unwilling to make the antagonist characters just as or more attractive than their mains or really sell that people find them hot. Sometimes the styling also makes them appear less attractive than the main character. Characters who I think have suffered from this the most are George Wickham (Pride & Prejudice), Mr. Elton (Emma), Harriet Smith (Emma, she usually looks worse than Emma except in the 1972 BBC mini), somewhat Jane Bennet, and Mrs. Bennet (I am among those who believe Mr. Bennet wasn’t entirely in jest, and she’s also usually too old). Not to even mention poor Mr. Collins.

Jane Bennet styled as the more attractive sister in the 1980 BBC mini (right in brown)

My perfect Harriet Smith (wearing a white cap), 1972 BBC adaptation of Emma

The one book that has this effect reversed (at least by my judgement), is Mansfield Park with Edmund Bertram vs. Henry Crawford. Edmund is described as tall, very attractive, and the entire family is fair. Henry Crawford is not good looking and is described as “dark.” Unfortunately, Edmund’s status as probably the most attractive Austen male lead is not respected! And Henry here is taller than Edmund!

Mansfield Park 2007, Sir Thomas, Edmund Bertram, and Henry Crawford

My biggest wish is for an adaptation that has a Henry Crawford who is shorter than Maria Bertram. I also desperately want a Fanny Price who fades into the background. In the novel, she hardly feels like the main character until at least halfway through. I want this visually represented!

Imagining Jane Austen’s Heroines (with period portraits)

And then to my personal favorite comic character, I really want a Sir Walter who oozes vanity and, at 54, is still a very fine man.

My vote for the next Sir Walter is Jamie Camil. He did a perfect job in Jane the Virgin playing a vain older man. We have two years left to make it happen!

Unfortunately, it seems that Hollywood especially is just too scared to make their main characters less attractive than the antagonists or to properly sell the charm of the villains. And it’s important! Wickham knows he’s attractive and charming and that the whole town is longing for him. That’s what allows him to slander Darcy and get into so much debt unchecked. And yes, Mr. Elton thought Emma was encouraging him but at the same time, he was preaching every Sunday and the whole town’s female population was giving him intense heart eyes, enough to convince him that he could marry up with his good looks. Willoughby probably is so secure in his vague engagement with Miss Grey because he’s so good looking.

It’s important I tell you!

(For those of you who love Jane Eyre, Male Model St. John Rivers and weird little man Rochester when?!)

What character hasn’t quite looked right to you?

More:

How Does Jane Austen/the Narrator Feel About Charlotte Lucas?

What is Unique about Jane Austen?

Jane Austen: Delightfully Destroying Her Own Characters

Darcy Didn’t Pay Wickham £10,000 to Marry Lydia

Jane Bennet isn’t an Old Maid

6 responses to “Jane Austen Adaptations and the Problem with Casting”

  1. Alice McVeigh Avatar
    Alice McVeigh

    As you suggest, attractiveness is such an individual taste thing, and can relate to character as well as to features/figure. I often find people attractive in real life that most people don’t (and vice-versa!)… One fault of some Regency/Austen adaptations, imho – this might be just me – is that of making the male characters rather TOO pretty and perfectly turned-out. But then, millions of women must be cool with that. XAlice

  2. Ginna Avatar

    “I also desperately want a Fanny Price who fades into the background.” You mean like Billie Piper?! :-p Soooo miscast. She looked like she might take you out back and give you a thrashing!

    1. bdelleman Avatar
      bdelleman

      I love Billie Piper but Fanny Price she is not! She looks way too healthy and bouncy to play the quiet, timid, and chronically ill Fanny Price

      1. Ginna Avatar

        Exactly. She’s not doormat. More like a speedbump! She’d have no problem telling Aunt Norris where to go!

  3. cindie snyder Avatar
    cindie snyder

    I see what you mean. The characters that aren’t the main ones deserve to be noticed too! Although I can’t see anyone but Colin or Matthew being Mr Darcy!😍

  4. Don Jacobson Avatar
    Don Jacobson

    BD…You are spot on. That noted, the problem is that, as a visual medium constrained to approximately two hours, film and streaming must be shorthand and simplified (for those who have not read through the Canon multiple times). Characterizations that we authors can spend two pages developing in a variation must be accomplished in thirty seconds of screen time.

    Directors rely on societal norms that allow audiences to quickly pigeonhole a character and ascribe traits commonly assumed to be borne by such persons. For instance, a blond-haired, blue-eyed, square-jawed man in a pre-WWII epic, even without the German lilt to his English, will not surprise the audience by later showing up in a black SS uniform in the back seat of a convertible Mercedes. He has already been pegged as a member of the Master Race. Everything he does throughout the film is an outgrowth of that visual.

    That’s why I see the deft use of actors like Wise as the villain to be masterful. There is a surprise hidden beneath his good, but not astonishingly good, looks. That’s where Emma Thompson’s script found the essential Austen: men can be dangerous, whether too beautiful, too ugly, or too normal…a woman can fall prey to any of them if they exercise the power men held over women in the Regency. Or as Jane might have written: a good man is hard to find.

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