Pride and Prejudice

Dario Marianelli’s uncompromising Oscar-nominated score for Joe Wright’s 2005 adaptation of Jane Austen's literary masterpiece Pride & Prejudice truly stands out in the 2000-2010 scoring era. This is Marianelli’s first union with Wright, who went on to score Atonement, The Soloist, and Anna Karenina, but it was Pride & Prejudice that launched Marianelli into the spotlight after receiving the Oscar nomination.

I went into this film with no expectations, and no knowledge of Marianelli’s score. This definitely helped me to have a unbiased approach to the film, only later hearing all the very strong opinions people have concerning the film who see it as their religious duty to uphold the 1995 version, or the “correct version,” of Jane Austen’s most sacred Pride & Prejudice. First it was a great film (I didn't say better than the 1995 version), and secondly I’m reviewing the score. Let's move on.

Dawn, Stars and Butterflies, Leaving Netherfield, The Living Sculptures of Pemberley, Georgiana, and Credits all hearken back to early Bach sonatas. Marianelli wanted a portion of the score to have a more authentic approach. What would Lizzie have heard in her day? The more traditional music brought a sense of authenticity to the film as a whole. The songs are pretty, light, and joyous.

In the main dances, Meryton Townhall, Can’t Slow Down, and Another Dance, Marianelli uses traditional English Country tunes for the Bennets’ energetic dancing. The important thing to notice is that there is zero emotion put into these songs. We get halfway into the film and up comes A Postcard to Henry Purcell, where Darcy and Lizzie have their first dance. Marianelli abandons the unemotional English country themes and breaks right into a sweeping violin solo. There is so much to say about these 3 minutes. First off, the scene is phenomenal. As Lizzie and Darcy dance and taunt each other, the camera swivels around emphasizing the intensity. The beginning of the song features only a violin, but slowly the strings come in, growing stronger, and the violin yearning . The people around are lost, literally removed from the screen, the song now fully emphasizing Lizzie and Darcy's sole concentration on each other. Three-quarters of the way through the song Lizzie and Darcy’s dialogue ceases and the music takes over, the strings now in full strength, the violin repeating in almost a minimalistic manner the core elements, over and over again, passionately, without compromise, as Darcy and Lizzie dance.

The song effectively communicates the strong feelings that are presented in the scene. Lizzie now doesn't know what to think of Darcy, she’s upset that she cares, she's conflicted. Yes, she’s in love and she doesn't know it. A good score shows you this without any dialogue. You should see that she's in love and more importantly, hear it. Dario’s adaptation of Henry Purcell’s Abdelazar fits perfectly and is one of the highlights of the score. Simply breathtaking.

This begins the more romantic set of emotional, repeating elements that will be heard throughout the rest of the film. The Secret Life of Daydreams features a piano hopping around lightly, signifying Lizzie’s thoughtful heart, the wheels in her head turning, the life before her, and the choices she must make.

The beginning of Darcy's Letter reveals the first contentious piece of music heard in the score: the harsh repetition of strings creates an anxious mood which then shifts down to a soft, mournful tone featuring a cello. Lizzie receives the letter and the final stage is set for the ending of the film; now knowing the truth and how she was wrong. This mournful theme perfectly shows her remorse.

Now, the climax, Your Hands Are Cold, where Darcy and Lizzie are finally reconciled and love confessed. Beginning with the same tension as Darcy’s Letter, the song then transitions into a mellow harp accompaniment, but then springs into a full out, lush, sweeping melody; racing across the piano just as their hearts race to each other. This is the romantic climax of the film and Marianelli effectively shows the restrained passion delivered in this scene. It continues, in a very resolved tone, with soft strings containing a harp accompaniment. This is one of Marianelli’s finest moments and one of my favorites songs for film.

"Breathtakingly passionate"

Mrs. Darcy begins with the main theme, Dawn, and then transitions into a solely stringed  climax and then again transitions into the main theme, this time played with strength and swiftness. Emphasizing resolution and tying the film together, this song, especially the middle section, expresses Lizzie and Darcy’s tenderness and love to the fullest extent, leaving the viewer with a compelling impression.This is a five star score, both effective and traditional providing essential emotion to the movie as a whole. Jean-Yves Thibaudet piano playing was exceptional. I constantly come back to Marianelli's score because it is at times subtly tender and at others breathtakingly passionate.