Today’s trend of conforming entirety of history and culture towards increasingly rigid limits of contemporary 21st Century “wokeness” isn’t anything new. Decades ago, artists, writers and film makers were trying very hard to reinterpret or “reboot” various works of art towards more liberal, progressive and “hip” values even when the originals were anything but. An example can be found in the works of Jane Austen, immensely popular author of early 19th Century English novels whose content often brought ire of feminists by implicitly suggesting that the woman’s worth could be best judged by the quality of men she brings to the altar. Canadian feminist film maker Patricia Rozema decided to do something about by adapting Austen’s 1814 novel Mansfield Park into eponymous 1999 British film.
The plot is set in early 19th Century England and the protagonist, played by Frances O’Connor, is Fanny Price, young woman who have been brought to Mansfield Park, country estate by her wealthy cousin Sir Thomas Bertram (played by Harold Pinter) and thus rescued from the poverty in which her immediate family lives in Portsmouth. Fanny is not only physically attractive, but also has independent mind and passion for literature, which is the reason why she becomes attached to Sir Thomas’ son Edmund (played by Jonny Lee Miller). Fanny is, however, expected to marry Bertram’s neighbour Henry Crawford (played by Alessandro Nivola) while Bertrams try to set Edmund with Henry’s sister Mary (played by Embeth Davidtz). Fanny is, however, too educated and too free-spirited to allow other people to forge her destiny. After discovering that Mansfield Park owes its splendour to the slaves working on plantations in West Indies, she begins to question Henry and people around her.
Works of Jane Austen became immensely popular among film makers in 1990s. Mansfield Park was, due to its length and somewhat hermetic plot, considered difficult to be properly adapted to the screen. Rozema, however, took this as an opportunity to not be faithful to the original text. That included protagonist, which was changed from rather passive character into full-blown outspoken feminist and in some ways modelled on Jane Austen herself. Rozema’s script also included elements of incest, lesbianism and drug addiction which weren’t part of the original novel. Although attempts to use early 19th Century novel to push late 20th Century progressive agenda look awkward at times, Rozema directs film well and puts English locations and period details to good use. Australian actress Frances O’Connor easily dominates the cast, while renowned playwright Harold Pinter stands out as aristocratic patriarch. On the other hand, Jonny Lee Miller isn’t that convincing in rather standard role of heroine’s romantic interest. At the end of the day, Mansfield Park is solid film that could be recommended even to those who care little about contemporary politics or about early 19th Century romance novels.
RATING: 6/10 (++)
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