Janespotting: Aunt Celia by Jane Gillespie

Jane Gillespie is one of those authors who has dipped into almost all of Austen's works as inspiration for her own, including a fun if forgettable take on Mansfield Park, a look at the naughtiest characters from Northanger Abbey, and a sweet, witty take on one of the neglected characters from Sense and Sensibility. So how would she approach our lovely Emma and her shenanigans?

Again, Gillespie eschews he main character and follows one of the more overlooked characters from the original, Mr. Weston, father of Frank Churchill and husband of "poor Miss Taylor," Emma's former governess. This novel opens almost two decades after Emma, with the widowed Mr. Weston and his nearly-adult daughter, Celia, anticipating a visit from Frank and Jane Churchill and their large family. Celia wonders if she still will be friends with the Churchills' eldest daughter Stella, who is two years younger and livelier than her "Aunt" Celia.

Besides these visitors, who are staying at the larger Donwell Abbey, the Westons are hosting the widow Mrs. Petteril. Mr. Weston, a kind soul, thinks Celia needs female company after her mother's death. Celia would be just as happy to spend her time cheering her father, because Mrs. Petteril is not a very sympathetic lady. In fact, the impoverished widow is scheming to have her wastrel son Henry marry Celia, and then marry Mr. Weston herself.

While Celia manages to escape these machinations—mostly—she does not find comfort with her relations, either. Her Uncle Frank is rather severe (family life has made him responsible and boring), and her Aunt Jane is occupied with her younger children. The Churchill boys are a bit rambunctious, and barely under the control of their tutor, James Aske, who hopes to devote some of his time to poetry. Stella is a bit of a flirt and a flibbertigibbet, and enjoys teasing James about his ambitions; she is egged on by Henry, who has his own plans to find a rich wife. Celia is sympathetic to James, and is further intrigued when his brother, Captain Aske, shows up to drag his younger brother back home to their parents Lord and Lady Langleigh. Nobility? Oh my!

Captain Aske is a rather humorous, straightforward type. There is no urgent reason for him to bring James home, except that he has promised to do it and is impatient to finish the job. A chance meeting with Stella in the village leads him to enlist her help by passing a message to James. The message goes astray and causes a misunderstanding; in her panic Stella lies and says Celia was the intended target of improper intentions. She runs away and is taken in by Henry, who runs away with her. She is not discovered as missing until Celia has managed to be falsely accused of involvement with three different men and cleared her name. The serious Captain Aske takes the blame and goes in pursuit; Celia discovers James is intrigued by her as well; and Stella is returned home, abashed, unblemished, and ready to settle down.

Scheming villains, innocent maidens wrongly accused, and happy endings with wealthy and handsome young men ... we can check off many of the elements that make a good Austenish read. This one had the added benefit of a very appealing heroine; Celia is considerate and patient (without being a doormat), so seeing her triumph over the plans of selfish people to make herself and her family happy was a pleasure to read. So another thumbs up for a Gillespie "sequel": fun if not earthshaking.

Janespotting: A Visit to Highbury by Jane Austen-Leigh

To begin my review of the various sequels to Emma, it's only appropriate I start with this one penned by Austen's own great-great-great-grandniece. A Visit to Highbury is subtitled "another view of Emma," and that's exactly what this provides, retelling the story from the point of view of Mrs. Goddard, who runs the school that Harriet Smith attends. The novel is epistolary, meaning it is told entirely in letters, which can provide charm but also have limitations.

Because Mary Goddard is well outside Emma's inner circle—she is the one left keeping Mr. Woodhouse company when Emma goes off to parties without him—her view of the novel's events is fairly tangential. But she speculates and passes along gossip in letters to her sister Charlotte Pinkney, who is living in London with her new husband and wondering if she has made the right decision in marrying him. In her letters back to Mary, she clamors for more gossip, looking for ways to entertain herself because her husband treats her as merely a housekeeper. Mary complies, speculating about the mysteries of why Mr. Elton has suddenly run off to Bath, who gave Jane Fairfax a piano, and why Frank Churchill has stayed away from Highbury so long. She also admonishes the tart-tongued Charlotte to be more dutiful and open towards her husband.

In Charlotte's letters, we get a few outside views of events, as the Pinkneys share an apothecary with John and Isabella Knightley, and on a trip to Bath they encounter the future Mrs. Elton and her family. Mostly, however, Charlotte Pinkney writes of her growing accommodation with her husband and their new friendship with a young girl who is being mistreated at the girls' school next door. She claims their sympathy by being the daughter of a missing naval officer and by sharing the name of Charlotte, and gains their friendship because of her sweet nature. As the elder Charlotte makes small overtures to Mr. Pinkney on the younger one's behalf, she discovers there is more depth to him than she had bothered to notice, and they grow closer. Mrs. Pinkney even shares the mysteries of Highbury with her husband, who has some very perspicacious theories.

The novel concludes with several happy endings: besides the three matches in Austen's Emma, we get one for the young Charlotte, whose father reappears and can bless her match with a young naval officer. We also get true love between Mrs. Pinkney and her husband, an expected baby, and—most desired throughout the book—an upcoming visit between the two sisters, which brings an end to their letters.

I found this a charming little novel, approaching Austen in tone and wit and giving a little embroidery to the events of Emma. Mrs. Pinkney is open enough in her letters to make her an interesting character, while the gently chiding Mrs. Goddard keeps a bit of the formal flavor of an Austen novel. If you're the kind of Austen fan who hates to see people take liberties with the original characters, this is the kind of "sequel" for you.

Janespotting: Clueless

So about the same time the Austen film renaissance began in the mid-1990s appeared this teenage comedy from writer-director Amy Heckerling, starring Alicia Silverstone as a privileged California teen. Not all reviews acknowledged it (and it wasn't in the credits), but Heckerling freely admitted she stole liberally from the plot of Emma for her film. Standing in place of Emma is Cher: a pampered rich girl who is queen of her high school but is not interested in high school boys, whom she considers "dogs." She skates along on charm, wrapping her daddy around her finger, and when she can't get her cranky debate teacher to change her grade, she tries to fix him up with history teacher. With a little makeover from Cher, the ruse works, cheering her teacher and boosting her grade. Looking on with disapproval—and standing in for Mr. Knightley—is Cher's stepbrother Josh, a college student she calls "granola breath" who is always chastising her for her shallow selfishness.

Feeling cheered by her good deed in matching her teachers, Cher adopts the new girl/Harriet Smith-analog Tai, who is kinda grungy and attracted to a slacker student. Cher and her best friend make Tai over, then try  to set her up with classmate Elton, who admires a picture of Tai Cher has taken. As in the original, Elton is admiring the artist, not the subject, and when the three go to a party he engineers giving Cher a ride home, makes a move on her, then shows he is too snobby to be interested in Tai. After Cher ditches him, she gets robbed and has Josh come rescue her. Cher shows she has a bit of a brain by correcting Josh's obnoxious girlfriend, who is misquoting Hamlet.

The Frank Churchill role is filled by a new boy at school named Christian. He has a rat pack vibe and Cher is  interested in a date although it's clear to the audience he is gay. (This neatly avoids too many characters by cancelling the need for a Jane Fairfax analog.) They take Tai to a party with Josh's friends, where Josh dances with Tai because she looks lonely. Tai is rescued again while shopping with Cher, when Christian rescues her from some pranking boys. Tai's story makes her popular, to Cher's detriment, and things go downhill as Josh criticizes her again and she flunks her driving test.

Making things worse is Tai's request that Cher help her charm Josh, when Cher thought she wanted Christian. Being no demure Harriet, Tai calls Cher "a virgin who can't drive" when Cher hesitates and the two quarrel. Just as Emma suddenly discovered her feelings for Mr. Knightley, Cher has a sudden realization she wants to be with Josh. She doesn't know how to act around him, so she undertakes a "makeover for the soul" by organizing disaster relief. She also makes up with Tai and encourages her to pursue the slacker boy. The denouement travels far from Austen, as there's no question of Josh's Knightley-analog being in love with someone else. With all the bickering between the two, however, it's not clear he knows his own feelings, so instead Heckerling shows the two working on research for her dad's court case. When another lawyer chides Cher for screwing up, Josh comforts her and they confess their feelings—and we have a cute rom-com ending.

Although "Clueless" is built on the skeleton of Austen's plot for Emma, it's totally a typical teen comedy of the time. There is partying and drinking, an emphasis on brand names and fashion (even satirically so), and practically invisible adults. And yet, the dialogue is a cut above what you might expect from a teen comedy, with lots of big words; one character even comments, "Wow, you guys talk like grownups." The reply: "Well, this is a really good school."

As a teen comedy Clueless is fun—especially with Silverstone's charming portrayal of Cher—and maybe a little deeper than the usual raunchy teen flick. As an Austen adaptation, it's an interesting curiosity, showing how many of Austen's themes and even character types are timeless.

Janespotting: Emma (2010 miniseries)

So a few years ago, PBS presented a whole season of Austen adaptations, five of them new ones. (Pride & Prejudice being the lone exception, of course. You don't mess with your audience.) And despite having two relatively new versions of Emma barely more than ten years old, the powers that be (in this case the BBC) decreed it was time for a new one—and why not, if you're going to make it a miniseries?

With almost four hours to tell the story, we're treated to a relatively faithful telling of the story, plus lots of scenes that further develop both major and minor characters. Most important is the opening that contrasts the early childhoods of Emma, Frank Weston, and Jane Fairfax. We see all three lose their mothers, but Emma is kept at home while Frank (now Frank Churchill) and Jane are sent away from loving homes for their own good. This is a very effective contrast, and further scenes of Emma as an older child hearing Miss Bates natter on about Jane, with another nattering 7 years later, make her distaste for Jane a little more understandable.

Another added scene is of a young Emma claiming to see a future match between John Knightley and Isabella—something Mr. Knightley finds ridiculous—but she is proven right at their wedding, also shown. Although this doesn't happen in the book, it gives her self-confidence in matchmaking an added boost, especially after she foresees the wedding of Miss Taylor and Mr. Weston. We might find Emma a bit insufferable by now, but we also get a scene portraying Emma's loneliness after Miss Taylor marries and leaves, making her a bit more sympathetic.

With this leisurely pace, we don't even meet Harriet Smith until over 20 minutes in. We do get to see the discussion between Mr. Knightley and Mrs. Weston over Emma's friendship with Harriet (although not the line about Knightley wanting to see Emma in love with some doubt of return, boo). He seems to agree with her advice not to press Emma about it, but when Emma helps Harriet reject Robert Martin (whom we see apply to Mr. Knightley for advice in an earlier scene), he can't help but start a big argument. At first he seems more frustrated than angry, but the discussion becomes very heated, as only true friends can argue. "Men don't want wives who argue," Knightley tells Emma, adding that "Harriet and Robert are not your dolls" and warning she will regret her meddling. As the first hour ends, we see the argument has made Emma thoughtful.

The second hour begins with the Christmas party at the Westons; the scenes are quite amusing, showing Emma's growing realization that Mr. Elton is making a play for her. As we had seen her before being very giggly with Harriet over the match, we also see her truly upset at Harriet's disappointment. There are also some very amusing moments, for instance when Emma has not received an invitation to the Coles' party and discusses it with Mr. Knightley. They have some very witty exchanges, with Knightley sometimes sarcastic in response to Emma's silliness—but always amused, never nasty.

The rest follows fairly closely to the plot of the book, but that isn't what I like best about this version. The miniseries format gives it a steady pace and depth that allows the film to portray both Emma and Mr. Knightley's growing feelings for each other. At the Coles' party, we see Emma very thoughtful as she considers Mrs. Weston's idea that Mr. Knightley gave Jane Fairfax a piano. When Emma is upset at the upstart Mrs. Elton and complains to Mr. Knightley, we see how he wishes she could get out and experience more of the world. We also see Mr. Knightley's growing jealousy of Frank Churchill—although after he dances with Emma at the ball, he shouldn't need to worry, as the scene wonderfully hints at the pair's growing feelings for each other, as do the scenes of both remembering the dance.

The casting and acting is also uniformly good, with care in all the minor roles. Jane Fairfax is quiet and reserved, as she should be, but we do see occasional hints of more as she reads Frank's letters or gets excited about the ball. We get additional scenes with the Bateses, and Miss Bates is appropriately dignified and flighty. Mr. Elton is suitably obsequious and ingratiating, while Mrs. Elton is infuriatingly interfering. And finally! We have a Harriet that looks the part, a sweet round face framed by lovely blond curls. Although she is obviously inexperienced and inferior in wit to Emma, we can also see her improvement in sense and sophistication over the film, enough that you might actually believe a sensible gentleman could overlook her background or her more polished friend.

Best of all the minor characters is Michael Gambon, better known as Professor Dumbledore in the later Harry Potter films; he is terrific as missish Mr. Woodhouse, obsessing over cake and health risks. In other versions the character can seem somewhat peevish, but Gambon shows his worry as grounded in losing the ones he loves, and we see him genuinely doting upon Emma and his family. To emphasize this, John Knightley's grumpy worrying provides an amusing counter to Mr. Woodhouse's loving concern.

BBC/PBS Masterpiece

Of course, the film really belongs to the two actors who play Emma and Mr. Knightley, Romola Garai and Jonny Lee Miller. I had never seen Garai in anything before, but I particularly liked her approach to the character. She made Emma able to hold her own with Mr. Knightley without seeming bratty, and really captured the combination of overconfidence and inexperience that makes the character. As for Jonny Lee Miller, he is not very tall, or darkly handsome, but I do believe he is my favorite Mr. Knightley. After all, Mr. Knightley is not supposed to be a lofty dreamboat like Mr. Darcy; he's the steady guy who's the treasure that's been under your nose for a long time but you were too stupid to see it. And as Miller plays him, we see his steadiness, his frustration (rather than anger), and his journey as he realizes the friend he has guided for so long means more to him than just a friend. I guess the Emma and Knightley in this version feel more like real, complicated people who evolve, rather than characters who follow a prescribed plot. This is the version that makes me understand why some people might find Emma their favorite Austen novel, so I recommend it if you're a fan.

Janespotting: Emma (1996 TV film)

Not long after the feature film version of Emma came out in 1996, this BBC adaptation appeared on American television. Although it was written by Andrew Davies, the same screenwriter who penned the previous year's Pride and Prejudice miniseries, this version was only two hours long. Nonetheless, the film opens with a scene that isn't in the book but is crucial to the conclusion: someone robbing a hen house and stealing chickens.

We are then very quickly taken through Emma and Harriet's interactions with Mr. Elton—we get no "courtship" puzzle to encourage them—and after just 20 minutes we are at the start of the Weston party, where Emma finally realizes that Elton has been courting her, not Harriet. Despite skimming over a lot of the Elton story, the film does take time to show Mrs. Weston and Mr. Knightley discussing Emma's relationship with Harriet (he thinks it is a bad idea), and throw in the line from the book that Mr. Knightley should like to see Emma "in love, and in some doubt of a return." I don't know why more adaptations don't use this line—probably because it suggests that Mr. Knightley is not thinking of Emma as a match for himself at this point— but I like it because it's nice ironic foreshadowing.

In any case, we swiftly get Emma's soon-broken vow to stop matchmaking, our first visits from Jane Fairfax and Frank Churchill, the introduction of Mrs. Elton, and the events on Box Hill. The strawberry party is left out entirely (or else mashed together with Box Hill so thoroughly I didn't recognize it), which is no great loss, as the two events are rather similar. We do get a scene of Jane Fairfax weeping in a field, cluing us in to the revelation to come. However, in this version we don't see Emma really encourage Harriet in her new infatuation, which Emma thinks is for Frank Churchill but is really for Mr. Knightley, no comment that "raising your thoughts to him is a mark of good taste." This may seem like a minor quibble, but without it, Emma's discovery that she and Harriet love the same man loses a bit of effectiveness.

All is resolved happily, of course, and we get an added coda not in the book: a harvest dinner in which Emma gives an invitation to Robert Martin and sisters and gets to dance again with Mr. Knightley. The final scene is of more chicken raiding—so crucial to getting Mr. Woodhouse to agree to the marriage, as my college professor stressed when we read the book. I won't quibble with these additions, as they help illustrate the change in Emma's character while bringing the story full circle.

So the plot condensation had some pluses and minuses. What about the casting and acting? As Emma, Kate Beckinsale—the lone brunette to play the role—conveys a real sense of youth and inexperience, and is very good at conveying Emma's interior confusion and doubt when things don't turn out the way she expects. She's probably the most likeable Emma on film, although that may not be truest to the character.

Mark Strong is brooding and attractive, but his Mr. Knightley is very angry in arguing with Emma, almost uncomfortably so. He seems better suited to Mr. Darcy than Mr. Knightley, whom Austen describes as having "a cheerful manner, which always did him good." Raymond Coulthard's Frank Churchill has much the look of Ewan McGregor's, with charm and amiability but a little less smarm (and much better hair). The jewel here is Olivia Williams as Jane Fairfax, who is very good at showing subtle hints of her fondness for Frank Churchill. The screenplay also wisely includes her comment comparing the "governess trade" to the slave trade, giving her more wit than most adaptations, which make Jane as insipid as Emma thinks she is.

The one real drawback, again, is the miscasting of Harriet. Again, I remind you of Austen's description of the  "very pretty" Harriet: "She was short, plump, and fair, with a fine bloom, blue eyes, light hair, regular features, and a look of great sweetness." While Samantha Morton is a very good actress with two Oscar nominations to her credit, and as such gives Harriet the right temperament, her face is thin and sharp-featured, foxy rather than plump. Compared to Kate Beckinsale's radiantly elegant Emma, Harriet looks plain, again making it hard for me to believe that men would overlook her dubious background, or that Emma might believe she is a serious competitor for Knightley's attention.

So all in all, I think I prefer the other 1996 adaptation to this one, which doesn't have quite the wit and easiness of the Gwyneth Paltrow version. It's definitely worth a viewing, though, especially for comparison purposes. If you're at all interested in the mechanics of story, it's always a fun exercise to see what someone thinks are the essential elements when they create their adaptation.

Janespotting: Emma (1996 film)

Among the cinematic Austen revival of the mid-1990s were two versions of Emma, both released in 1996. The first was released in theaters and was written and directed by American Douglas McGrath, who had previously written Bullets over Broadway with Woody Allen. It was also the first starring role for Gwyneth Paltrow, whose performance made many people wonder where this British actress had come from (America, it turns out).

At under two hours, there was quite a bit of condensing necessary. I found this version very well-paced, with the first half hour showing Emma's romantic machinations, all in a very playful manner. In one sequence, the director made several clever cuts, taking the subjects from one scene to another mid-sentence, quickly continuing the thought and the story. Of course, other events are combined or simplified. The gypsy attack happens to Harriet and Emma, rather than Harriet and a classmate we never see again, and the film combines the events of the strawberry party and the Box Hill outing. Finally, as Emma struggles with the news that Harriet believes Mr. Knightley cares for her, she discusses her feelings with Mrs. Weston, writes in her diary, and says a prayer for him "to at least stay single." These events aren't in the novel, but they dramatize Emma's change of heart very well and contribute to continued good pacing.

Neither was the screenplay slavish in reproducing Austen's dialogue. Although this meant no "If I loved you less I could talk about it more" line (sigh), there were quite a few witty gems in there. On our first encounter with Miss Bates, she tells Mr. Elton, "Your sermon on Daniel left us quite speechless, we could not stop talking about it!", encapsulating her character perfectly. And there are several amusing exchanges between Emma and Mr. Knightley; the scene where they argue about Harriet and Robert Martin takes place during an archery practice at Donwell Abbey. As Emma's aim gets worse during the argument, Mr. Knightley murmurs "try not to kill my dogs," with a fond smile.

I thought this version did a very good job of portraying the genuine affection between Emma and Mr. Knightley, as he is instructive and never angry, not even after Box Hill, when he sounds frustrated. Of course, that might be due to Jeremy Northam, who is yummy yummy dreamy and brings the right sense of brotherliness, exasperation, and playfulness to role. (Although I'm not sure Mr. Knightley should be so yummy yummy dreamy.)

Gwyneth Paltrow is pretty good as Emma, with the right mix of sincerity and brattiness and her emotions easy to read on her face—maybe a little too easy, though, as it wasn't a very subtle performance. Most of the minor characters are very good, with some stellar Brit actors: Alan Cumming has right mix of smarm and solicitousness as Mr. Elton, and Juliet Stevenson is perfect as tacky, imposing upstart Mrs. Elton. Sophie Thompson (sister of actress Emma) brings out the silly and the dignified in Miss Bates, and Ewan MacGregor gives Frank Churchill the right mix of vivacity and secrecy, although he has to act while wearing one of the nastiest wigs I have ever seen.

The one serious flaw in casting is in Toni Collette as Harriet Smith. While I think she's a wonderful actress, with her own quirky attractiveness, she doesn't match Austen's description at all: "She was a very pretty girl, and her beauty happened to be of a sort which Emma particularly admired. She was short, plump, and fair, with a fine bloom, blue eyes, light hair, regular features, and a look of great sweetness." Collette is not plump (her face is more angular), nor does she have regular features or light hair. Plus, she plays Harriet with a slight dippiness that makes Harriet completely overshadowed by Paltrow's elegant Emma. Harriet is supposed to be pretty and charming enough for Emma to think that men will overlook her dubious background, and in this case I didn't buy it.

Still, this version was fast-paced and witty enough for me to enjoy it very much. It got to the essential bits of the story, and for the most part kept my favorite parts from the book. If you only have a couple of hours to introduce yourself to Emma, this is a good place to start.

Janespotting: Emma (1972 miniseries)

As one of Austen's most popular novels, Emma has been adapted for film and television multiple times, including twice in 1996 alone. I doubt I'll be able to view all of these adaptations, considering the earliest was in 1948, but I'm going to do my best. I'm particularly wanting to get the 1960 BBC miniseries with David McCallum, currently playing "Ducky" on NCIS, as Frank Churchill, but since I can't find it on DVD/tape anywhere, I'm starting with a later BBC version.

The 1972 BBC miniseries of Emma—amazingly, available at my library—is six 42-minute episodes. At nearly 4½ hours, that's long enough to be extremely faithful ... or extremely boring. You never know what to expect with some of these older adaptations, which can be overly formal, strangely decorated, or otherwise not suitable for modern tastes. This one was a pleasant surprise. The sets and costumes were appropriate, the direction was paced well and didn't call attention to itself, and the acting was, for the most part, restrained.

I did have some quibbles with the acting/casting choices, however. While the actress playing the title role was the right age for the part, she played Emma with a certain smugness I found off-putting. Her verbal sparring matches with Mr. Knightley were playful, but there was an unpleasant edge to them, like Emma cared more about winning the argument than listening to her friend. 

There were also some particularly weird changes concerning Jane Fairfax. First, on the occasion in the book that Emma and Harriet visit Miss Bates and end up hearing a letter from Jane Fairfax, instead she actually is in residence. Instead of the Dixons being the daughter and son-in-law of the Campbells, the family who took Jane in, they are a couple Jane meets on holiday who have offered her a position as governess. And when Miss Bates reveals that the Dixons have made such an offer, Jane Fairfax becomes upset that Miss Bates has revealed anything—to the point where she objects furiously, something out of character for someone who is supposed to be so reserved.

Why vary from the story, if not for time considerations? After watching for a while, it seemed as if the writer wanted the viewers to understand what was going on before Emma does. So we see Jane Fairfax clearly upset and hiding something, where in the book it's unclear why she is waiting to get a governess position. We get a new scene showing Harriet the day after the dance with Mr. Knightley, swooning over the chance to go to Donwell; in the book we are surprised along with Emma to learn that Harriet considers this dance a big service, not Frank Churchill saving her from gypsies.

Strangest of all, the writer removed both Mr. Elton and Jane Fairfax from the outing on Box Hill. Presumably getting rid of Elton was to emphasize that Mrs. Elton was taking liberties with leadership of Mr. Knightley's party, but that was already shown in the strawberry picking party. But by removing Jane as a witness to Frank and Emma's flirtation, there's no reason for her to suddenly accept a governess position and reject Emma's advances of friendship. After making Jane's discomfort so obvious before, that seems a strange choice.

Lastly, the ending had the characters seeming oddly direct for circumspect Austen characters. Emma never directly apologized to Miss Bates for insulting her in the book, but that awkward scene is in the film. In the book Mr. Wodehouse never says no to Emma's match with Mr. Knightley, although "he tried earnestly to dissuade her from it," but in the film he forbids it, briefly, before the report of hen thieves changes his mind.

While overall this was a fairly faithful adaptation of the novel, the changes they did make seemed to underestimate the viewers' intelligence, and also undermine Emma's character. When you read the book, Emma seems charming in her conviction, and we are just as surprised as she is when her matchmaking comes back to haunt her. In the film version, Emma seems a little snotty, even more so as we see how wrong she is while she continues in her mistakes. So while this was a very watchable version of Emma, it wasn't entirely satisfactory. Next time we'll see what differences condensing the story into a feature-length film can make.

Janespotting: Emma (Austen's original)

Emma was my first exposure to Austen, back in college, and at the time it didn't strike me as particularly wondrous. Sure, it had wit, but it didn't make me want to go out and read everything else Austen ever wrote. Maybe that was because I read it for a class—it's hard to really enjoy a book when you're taking notes and on a deadline—or maybe it's because I didn't fall in love with the heroine, as so many other people have. Austen sums her up in the first sentence: "Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her."

Unlike Austen's other heroines, Emma does not need to worry about money or marriage, and so she occupies much of her time with matchmaking and other amusements. As the novel opens she is celebrating the marriage of her former governess to a neighboring gentlemen, although the family's close friend (and Emma's brother-in-law), Mr. Knightley, says Emma made a lucky guess, not the actual match. Undeterred, Emma tries to pair her new friend, the lovely but dubiously born Harriet Smith, with the local minister, Mr. Elton. This turns out disastrously when she discovers Mr. Elton has been wooing her, not her friend, and poor Harriet is left disappointed and distressed.

Emma spirits are only temporarily dampened; when Frank Churchill visits the neighborhood, she is ready to flirt with him and promote a match between him and Harriet. In particular, Emma enjoys speculating with Frank about the lovely Jane Fairfax, the niece of their impoverished neighbor Miss Bates; Jane is destined to support herself as a governess. Jane is lovely and musically talented (annoying Emma, who doesn't apply herself and suffers in comparison), and her reserved manner perversely inspires Emma to imagine something inappropriate behind a gift piano. Emma's behavior becomes another point of contention with Mr. Knightley, who has long been accustomed to instructing her. They both enjoy their verbal sparring matches, although Emma is put out when Mr. Knightley tells her she is spoiling Harriet.

Emma's unrestrained pursuit of amusement comes to a head one afternoon when, encouraged by Frank Churchill's flattery, she cruelly insults Miss Bates. She is crushed to see Mr. Knightley's disappointment in her, and determines to apologize and also make up her lack of attention to Jane Fairfax, whom she has come to pity. Not long after she discovers that Harriet is not aspiring to Frank Churchill, but Mr. Knightley—and that she believes he returns her affection. Emma is shocked, for she hadn't realized before that she is the only one for Mr. Knightley. One final surprise remains: after Frank Churchill's aunt dies, leaving him her fortune, it is revealed that he and Jane Fairfax have been secretly engaged. Mr. Knightley and Emma reveal their feelings to each other, and even silly Harriet ends up engaged, to the young farmer whom Emma originally thought beneath her friend's notice.

I can see why Emma is many readers' favorite Austen book. It is light-hearted and playful, like its heroine, who never has the threat of poverty or loneliness hanging over her head. Early on Emma reveals her intention never to marry, noting that "a single woman, of good fortune, is always respectable, and may be as sensible and pleasant as any body else." When you think about it, Jane Fairfax, not Emma, is more like the typical Austen heroine in situation: potentially consigned to poverty and facing many obstacles on her road to romance and happiness. I guess that's why Emma isn't one of my favorite heroines: yes, she's charming and kind, but she's also rather shallow, at least until the end of the novel. On the other hand, the secondary characters are some of Austen's best, between the over-talkative Miss Bates, the enigmatic Jane Fairfax, the obsequious grasper Mr. Elton, and his vulgar, pretentious new bride.

So for me Emma ranks somewhere in the middle of Austen's novels: I don't love it like I do Pride and Prejudice, but I'd much rather read it than Mansfield Park. Actually, how I feel about Emma depends on whether I'm feeling indulgent and playful or not. I'll be considering that playful edge more as I begin exploring all the film version of Austen's classic. Stay tuned.