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an up-to-date and in-depth fan resource for the talented actress. Serving fans since 2004, we are now the longest running fansite dedicated to Keira. Nominated for two Academy Awards, Keira is recogised worldwide for her memorable big screen roles that include 'Pride & Prejudice', 'Atonement', 'The Imitation Game' and Disney's 'Pirates of the Caribbean' franchise. Our aim is to bring you all the latest news, articles, and photos relating to Keira's career, and strive to remain 100% gossip-and-paparazzi-free. Thank you for visiting!.
Quoting Keira
"All through my life what I've loved doing is watching movies. I love the escapism of film, I love stories. So it is incredible to be able to be in them as much as I am, to see them from the first stitch in a costume to the end product."
Pride & Prejudice
Home » Career » Filmography | 2000-2009

Tagline: You can only imagine the truth.
Keira as: Elizabeth Bennett
Genre: Drama, Romance
Duration: 129 minutes
Written by: Deborah Moggach (screenplay), Jane Austen (novel)
Directed by: Joe Wright
Other cast: Matthew Macfadyen, Brenda Blethyn, Rosamund Pike, Carey Mulligan
Release date: November 23, 2005
Production budget: $28m
Total worldwide gross: $121.1m
Filming locations: Edensor, Derbyshire, England, UK

The glorious world of Jane Austen is at last brought back to the big screen in all its romance, wit, and emotional force in Pride & Prejudice. Faithful to the setting and period of the beloved novel and filmed entirely on location in the U.K., this is the first movie version of the story in 65 years.

The classic tale of love and misunderstanding unfolds in class-conscious England near the close of the 18th century. The five Bennet sisters – Elizabeth (Keira Knightley), Jane (Rosamund Pike), Lydia (Jena Malone), Mary (Talulah Riley), and Kitty (Carey Mulligan) – have been raised well aware of their mother’s (two-time Academy Award nominee Brenda Blethyn) fixation on finding them husbands and securing set futures. The spirited and intelligent Elizabeth, however, strives to live her life with a broader perspective, as encouraged by her doting father (two-time Golden Globe Award winner Donald Sutherland).

When wealthy bachelor Mr. Bingley (Simon Woods) takes up residence in a nearby mansion, the Bennets are abuzz. Amongst the man’s sophisticated circle of London friends and the influx of young militia officers, surely there will be no shortage of suitors for the Bennet sisters. Eldest daughter Jane, serene and beautiful, seems poised to win Mr. Bingley’s heart. For her part, Lizzie meets with the handsome and – it would seem – snobbish Mr. Darcy (Matthew Macfadyen), and the battle of the sexes is joined.

Their encounters are frequent and spirited yet far from encouraging. Lizzie finds herself even less inclined to accept a marriage proposal from a distant cousin, Mr. Collins (Tom Hollander), and – supported by her father – stuns her mother and Mr. Collins by declining. When the heretofore good-natured Mr. Bingley abruptly departs for London, devastating Jane, Lizzie holds Mr. Darcy culpable for contributing to the heartbreak. But a crisis involving youngest sister Lydia soon opens Lizzie’s eyes to the true nature of her relationship with Mr. Darcy.

The ensuing rush of feelings leaves no one unchanged, and inspires the Bennets and everyone around them to reaffirm what is most important in life.

Production Info
  • Matthew Macfadyen (Mr. Darcy) has very poor eyesight. In the misty morning shot, the director, Joe Wright, was behind the camera waving a red flag so Macfadyen knew where to walk.
  • At the beginning of the movie, Elizabeth is shown reading a novel titled First Impressions – this was Jane Austen’s original title of her novel before she altered it to Pride & Prejudice. Additionally the text of the visible pages is readable when paused; it is the last chapter of Pride and Prejudice, with names changed.
  • Director Joe Wright managed to cast Judi Dench reportedly by writing her a letter saying ‘I love it when you play a bitch’, and petitioned Donald Sutherland to take the part of Mr Bennet. As Wright said in an interview in 2005, “We ended up having a long email correspondence about everything from 18th-century agriculture to my relationship with my father. I cast Donald a) because he’s a god, and b) because you needed someone of that strength to handle those six women.” On a similar note, he mentioned he was “reluctant” to cast Simon Woods as Mr Bingley, as he had previously been in a relationship with actress Rosamund Pike: “‘I tried very hard not to cast Simon, but I knew he was perfect. Finally I rang Ros and asked if she’d mind, and she said, “Absolutely not”. They hadn’t seen each other for two years but the next day they were dancing together. It was lovely”.
  • The film is set in 1797, the year that Jane Austen wrote the first draft of Pride and Prejudice. This is unusual, as most film adaptations set it in 1813 when it was revised and finalized.
  • Joe Wright was not initially keen on Keira Knightley playing Elizabeth, believing her to be too attractive. He changed his mind upon meeting her, deciding her tomboyish attitude would be perfect for the part.
  • The actresses who make up the Bennett family (Keira Knightley, Rosamund Pike, Jena Malone, Talulah Riley, and Carey Mulligan) went to the Bennett house location, in Kent, before the crew, and played Sardines (similar to Hide and Seek in America) in order to get better acquainted with the house and each other before filming began.
  • According to the director’s commentary, Tamzin Merchant (Georgiana Darcy) did her own piano playing in the film.
  • Joe Wright specifically instructed Keira Knightley never to pout, throughout the whole film. There is, however, one scene in where she does, but that scene was shot by the second unit without the director present. According to Knightley, Wright still complains when watching the film over her breaking this ‘pout ban’.
  • Keira Knightley was preparing for her role in Domino while she was filming, and had already cut her hair. She had to wear a wig during the last few weeks of filming and long sleeves to hide her muscles.
  • All the exterior Pemberley sequences and some of the interior, including the sculpture gallery, were shot at Chatsworth House, property of the Duke of Devonshire. As the house functions as a private home and is also the most visited stately home in England, several of the interior shots could not, however, be done there and were instead shot in Wilton House, Wiltshire.
  • The scene where Bingley rehearses proposing to Jane was improvised. Initially, it was supposed to be shorter, but Simon Woods’ was so good that the scene was lengthened.
  • While editing the scene with Elizabeth and Mr. Darcy’s first dance, Joe Wright discovered that they had inadvertently gotten the entire scene in one take via a camera in place to take establishing shots. The single take version is in the finished film.
  • Jena Malone is the only American cast member in the entire film. She and Donald Sutherland, who is Canadian, are the only non-English cast members in the film.
  • According to the director’s commentary, Carey Mulligan (Kitty) thought of her mother’s funeral during her first crying scene (also her first film). On subsequent takes, when she ran dry, Carey thought of what song would be played at her own funeral. It didn’t work quite as well.
  • In the book, Elizabeth visits a portrait gallery in Pemberley. This was changed to a sculpture gallery for the film in part because they were filming at Chatsworth which has a spectacular sculpture gallery, and also because Jo Wright felt it was a more dynamic way to stage the scene.
  • The English Country Dances done in the film are: Young Widow, Wakefield Hunt, The Bishop, Dutch Dollars, Tythe Pig, Black Bess, Duke of Gloucester’s March, and Moniek’s Maggot (a modern composition done in the traditional style, danced in the film to a tune by Henry Purcell.)
  • The dinner table scene at Lady Catherine’s was the first scene shot for the film. Elizabeth’s conversation with Mr. Wickham under the tree was the last. Filming at that location, Burghley House in Linconshire, lasted from the 18th to the 22nd of July, 2004, according to the house’s website. In the film (and the novel), the house is called Rosings. Filmed almost entirely on location. The only set built for the film was the Meryton Assembly room where Darcy and the Bingleys are first introduced, because assembly rooms of the type no longer survive in England, or are at least very hard to find nowadays. Building the set also allowed the crew to build it to their exact specifications. Filming on a real location that was that narrow would have been incredibly difficult anyway.
  • Mr. Darcy reveals to Lizzy that his sister is to have 30,000 pounds. This sum is her dowry, given to her upon her marriage from the family. It would amount to an income of 1,500 pounds a year on a 5 percent interest, making Miss Georgiana Darcy a very eligible young woman. In comparison, Mr. Bennet has agreed to give the married Lydia 100 pounds a year, meaning her dowry, as well as those of her four other sisters, is only 2,000 pounds.
  • The importance of how much characters earn as interest on their inheritance is a key element to the story. Each of the Bennet girls will only inherit one thousand pounds which would mean they would only have forty or fifty pounds a year to live on. By comparison that is roughly $5000 US in 2017 figures. This makes Mrs. Bennet’s desperation to marry off her daughters far more imperative.
  • During Mr. Bingley’s private ball, when Miss Bingley and Mr. Darcy are dancing with each other, Miss Bingley says, “I can’t help feeling that someone is going to produce a piglet and make us chase it.” The song they are dancing to is called ‘The Tythe Pig.’
  • Knowledge of the income of Mr. Bingley and Mr. Darcy is seemingly public and goes unexplained. The value of an estate or an inheritance was usually commonly known among the aristocracy. In the Georgian period it was usual for people to have their inheritance with a bank that gave them an annual interest rate of 4% or 5%. Thus Mr. Darcy inherited £200,000 pounds upon his father’s death and now earns £10,000 a year in interest.
  • Film debut of Talulah Riley and Carey Mulligan.
  • In the scene where Lizzie is asked to play the piano by Lady Catherine, she plays a very awkward version of the composition that plays at the beginning of the film and throughout it. Lizzie is essentially playing the movie’s theme song, but very badly.
  • In the DVD commentary director Joe Wright said he was very fond of the Gardiners (Lizzie’s aunt and uncle), so he filled their scenes with warm tones and showed them eating lots of delicious food.
  • Matthew McFadyen and Donald Sutherland also appeared together as major plot characters in The Pillars of the Earth, as Prior Philip & Bartholomew, Earl of Shiring, respectively.
  • Features five actresses nominated for an Academy Award for Best Actress: Keira Knightley, Rosamund Pike, Brenda Blethyn, Carey Mulligan and Dame Judi Dench. Of these, Keira Knightley and Brenda Blethyn have also been nominated for Best Supporting Actress, while Judi Dench won Best Supporting Actress for her performance as Queen Elizabeth I in Shakespeare in Love.
  • Emma Thompson did an uncredited and unpaid re-write of the script. She receives a ‘Special Thanks’ credit at the end of the film. One of the two scenes that Emma Thompson wrote was the scene in which Charlotte Lucas tells Elizabeth Bennet that she will marry Mr. Collins. The other one is the scene in which Elizabeth Bennet tries to tell Mr. and Mrs. Gardiner and Darcy about Lydia’s elopement with Wickham. Here Keira Knightley’s walking in and out of the room was Emma Thompson’s idea according to Joe Wright’s DVD commentary.
  • Filming Locations
  • Groombridge Place (Longbourn, the Bennet family home)
    Groombridge Place, near Tunbridge Wells on the border of Kent and East Sussex in Southern England, is anchored by a tranquil moated brick house, set within acres of gardens. Although a dwelling was first built on the site around the year 1200, the present house dates from the 1660s, when the first formal gardens were planned with the help of the celebrated horticulturist John Evelyn. Over the years, additions and alterations have been made to the gardens – the unique White Rose garden, the Drunken Garden, and the Knot Garden, among others. The Apostle Walk is now commonly known as the Draughtsman’s Garden, after being used as the key location for Peter Greenaway’s The Draughtsman’s Contract. While the house is a private home, the gardens are open to the public throughout the summer, and as such are visited by 200,000 people annually.

    The production was fortunate to request use of the house to stand in as the Bennet family home at a time when the property had changed hands – for only the second time in 400 years. The new owner was persuaded to delay his own plans for interior redecoration until after the Bennets and the film crew had moved on and out. Production designer Sarah Greenwood and her art department were able to transform the house’s interior to late 18th-Century “shabby chic,” and it became the Bennets’ house, Longbourn. Exteriors were also transformed, as Lizzie’s duckboard bridge was built across the moat; windows were changed to match the period portrayed; and a tidy courtyard became a manure-rich refuge for the various farmyard creatures that would eventually find their way to the Bennet family dining table.

  • Basildon Park (Netherfield Park, rented by Mr Bingley)
    Netherfield, the temporary home (near the Bennets’, Longbourn) of the dashing and wealthy Mr Bingley, is in reality Basildon Park (near Reading, Berks), a magnificent 18th Century Palladian mansion, set in 400 acres of parkland and overlooking the River Thames in Berkshire.

    Built between 1776 and 1783, Basildon Park fell into disrepair in the early part of the 20th Century. It was rescued and restored by Lord and Lady Iliffe in the 1950s. The couple restored the house and filled it with important paintings, textiles, and furniture. In 1978, the Iliffes presented the property to the National Trust, along with a large endowment and the collections they had assembled inside. The house and gardens are now open to the public from spring through autumn.

    Audiences will see the west front and loggia of Basildon Park, as well as the dining room and the Octagon Drawing Room, which overlooks the East Park and has an Italianate ceiling and frieze.

  • Burghley House (Rosings, the home of Mr Darcy’s aunt Lady Catherine de Bourg)
    For both the exterior and interior of Rosings, the imposing home of the equally imposing Lady Catherine (dowager aunt of Darcy and patron of Mr Collins), the production journeyed to Burghley House, one of the largest homes in England. The house remains in the family whose ancestor, William Cecil Lord Burghley (Chancellor and favourite of Queen Elizabeth I), built it in the mid-16th Century. The main building has not been much altered over the centuries. Many of the Cecil descendants have acquired major works of art and employed artists and craftsmen from Europe to enhance their surroundings. The Heaven Room, used in the film as Lady Catherine’s drawing room, is a stellar example. The 5th Earl, Lord Exeter, commissioned the Italian artist Verrio to paint the wall and ceilings, in addition to the magnificent murals on the walls and ceilings of the staircase (the Hell Staircase) leading to the Heaven Room. Verrio worked at the house for many years, but took to spending his earnings in the George Hotel in nearby Stamford, where the cast stayed during filming. Verrio eventually left Burghley House in disgrace – and in debt to many of the villagers.

    Burghley House is now owned by a family trust, and the property is managed by Lady Victoria Leatham (daughter of the Marquis of Exeter, the medal-winning Olympic runner portrayed in the Academy Award-winning film Chariots of Fire by Ian Charleson). Lady Victoria appears regularly on the long-running Antiques Roadshow, advising members of the public on the provenance and value of articles that they have brought from their homes.

  • Chatsworth House (Pemberley, Mr Darcy’s family home)
    The largest private country house in England and the home of the Duke and Duchess of Devonshire, Chatsworth House is the house used in the film as the exterior of Pemberley, Mr Darcy’s family home. Jane Austen made mention of Chatsworth in Pride and Prejudice, and the Duchess believes that the author was thinking of Chatsworth when describing Pemberley.

    Deborah, the Duchess of Devonshire, is one of the renowned “Mitford Girls” (her sisters were writers Nancy and Jessica Mitford, as well as Unity Mitford and Diana Mitford). During WWII, Chatsworth (built in the 17th Century) was occupied by a girls’ boarding school, Penrhos College. 300 pupils and teachers lived and worked there from 1939 until 1946. The house was subsequently reopened to the public, and in 1973 a farmyard and adventure playground were added on.

    Within the house, the grand staircase of the Painted Hall (where charitable functions and the children’s Christmas party are held) is where, in Lizzie Bennet and the Gardiners (the latter portrayed by Penelope Wilton and Peter Wight) begin their tour of Pemberley. It is within the Sculpture Gallery (so named for the 6th Duke’s having devoted the space to stone and sculpted figures) that Lizzie sees the bust of Mr Darcy – and hears of his fine qualities.

  • Wilton House Salisbury ([also] Pemberley, Mr Darcy’s family home)
    Built in the 16th Century on a site occupied for nearly 800 years prior by a succession of religious communities, Wilton House Salisbury is the family home of the 18th Earl of Pembroke (whose late father, the 17th Earl, was director/producer Henry Herbert). The uniquely designed Double Cube Room is seen as the drawing room of Mr Darcy’s family home, where Lizzie is introduced to Darcy’s sister Georgiana.

    The Double Cube Room, widely recognized as one of the finest surviving examples of 17th Century Palladianism (inspired by the architect Palladio) in England, houses and showcases a collection of family portraits by the 17th-Century artist Sir Anthony van Dyck.

  • Haddon Hall (The Inn at Lambton)
    The Banqueting Hall at Haddon, used as the dining room at the Lambton Inn, is the essence of a medieval manor from the 14th Century, and would have – as the principal dwelling room – housed 40-50 at that time.

    For over 400 years the house, built atop a limestone outcrop and located in Bakewell, Derbyshire, has belonged to the Manners family, and the house and grounds are open to the public. Other feature films that have been shot there include the Working Title production of Elizabeth and the most recent version of Jane Eyre.

  • Additional locations
    Temple of Apollo, Stourhead Gardens (in Wiltshire) is used for the Rosings Garden sequence in which Darcy proposes to Lizzie but is rejected.

    St George’s Square (in Stamford, Lincolnshire) is where the Meryton Village scenes take place.

    Hunsford (of The Alms House, at the Boughton House Estate in Northamptonshire) is used for scenes of Mr Collins’ parsonage (adjacent to the film’s Rosings house).

    Hunsford Church (at St. Peter Brooke, in Rutland) is the church whose interior doubled as Mr Collins’ church in the film.

    Peak District (at Stanage Edge, in Hathersage Moor, Derbyshire) is where Lizzie and the Gardiners tour Derbyshire.

  • Quoting: Keira Knightley

    on her character: I’m making a huge generalization here, but I’m assuming every woman will want to be her, which is this sort of incredibly passionate, clever, witty, intelligent, just amazing being. But also she is so annoying and you want to kick her up the ass and tell her to sort it out. So she’s flawed and that’s very human. I think when people see the film; they will see aspects of themselves in that character. Which is what’s so brilliant about Austen, I think you see yourself in all her characters. Strong women.

    on the challenges of the role: Lizzie is a character who has been strongly identified with, and cherished, by several generations. She is every girl’s dream. I was aware of the pitfalls inherent in playing such a longstanding heroine. There was a huge pressure taking on the role. Lizzie is one of the best roles in literature for girls. If you’re an actress and you get the chance to play her you definitely can’t say no. But it is scary, because when you read Pride and Prejudice, you feel like you own her. I know I did, and I’m sure everybody feels the same way, and that they’ll have a very clear idea of who Elizabeth Bennet is. So this was an exciting challenge.

    on Jane and Elizabeth’s relationship: Jane Austen’s own critique of her the book was that she felt it was too lighthearted. She felt the relationship between Jane and Elizabeth wasn’t realistic enough. We took heed of her comments and tried to bring to the movie a realism that perhaps isn’t so much in the book, bringing out the idea that these sisters are two girls who have lived with each other and slept in the same bed for so many years now. They have annoyances and such, but they love each other and stand by each other, enjoying each other and sharing each other’s pain.

    on the wardrobe: When the men in the cast stood around in their normal clothes, we Bennet girls could chat away to them. As soon as they wore their costumes, the sisters, myself included, were suddenly faced with these sexy creatures and we turned into giggling idiots who couldn’t string a sentence together. They were so well-costumed!

    on the source material: I read the book a lot. I’ve been obsessed by the book since I was about seven. I had all the Austen series on book tape and I used to listen to it on a loop. And I was obsessed by the BBC version when I was about eleven, maybe ten. And then I read the book finally when I was about fourteen and got obsessed again. Then when I was offered the role, I read it. I was terrified of doing it because I had been really obsessed with the BBC version I thought I was going to do an absolute copy of Jennifer Ehle’s performance and that would be awful. I mean, she was fantastic but it would be awful if I tried to copy her.

    on scenes that didn’t make the cut: It’s a difficult thing when you try and make a film of a book that you really love. You have about two hours to tell the story, and it’s never going to be enough. There’s a lot more of the Wickham stuff in the book that I love. I love all that Lydia, Wickham thing, that we never shot. There is quite a wealth of stuff that we had to leave out, because it didn’t go with our story.

    on the most challenging scene to film: I thought it was probably the scene in the rain, the proposal scene. It was actually my favorite scene to shoot as well, but I think that was probably the most difficult, just because it was quite complex. You wanted to get that sexual tension between them, and you want to get the fact that they really fucking fancy each other, but they hate each other at the same time.

    on working with director Joe Wright: It was great being directed by Joe because he’s got a very clear vision of what he wants the entire piece to be like. So he can also say, ‘You can stray a tiny bit, that’s all right.’ And I think you have to do that to really own a character, to possess the role. It’s a different process to do a film based on a book, because the inner dialogue of your character is all written down. So if there was ever a scene where I was having problems, we would go back to the book and in some way or another it was right there. But, equally, you have to take a stand and say ‘OK, I know it says this in the book, but you know what? I can’t do it like that because it doesn’t make sense as far as this goes, so I’m going to have to change that slightly.’ And then you have to be brave and just do it.

    on working with co-star Donald Sutherland: We adored him. He was amazing, completely amazing. Partly because he did love having six women around him all the time. We were really lucky. It was an amazing company to work with and be amongst. Everybody got on, and I think you can see that when you see the film.

    on working with co-star Matthew Macfadyen: When I went in to read with Matthew, I was so blown away that I virtually couldn’t get my lines out. I just kept staring at him thinking, ‘What the hell happened between you walking in as Matthew and you starting to read?’ Because he actually did turn into Darcy, and the scenes flowed. Matthew’s a man who is sexy in the mode of Richard Burton, with a bit of Alan Rickman. You need to see that kind of rugged beauty in Darcy, knowing that here was a man who walks across fields, climbs trees, and very much manages his own estate. With Matthew, you can see that etched across his face, yet he’s also got this extraordinary vulnerability. On the page, Darcy reads as being very cold, but Matthew is so vulnerable through his big manliness that he gives Darcy extra qualities.

    Quoting: Cast and Crew

    Director Joe Wright: I originally hadn’t considered someone as beautiful as Keira. I was looking for someone who didn’t fit the normal feminine conventions, and was bright and slightly difficult. I figured Lizzie Bennet would be quite difficult to live with; she’s tough-minded and questions everything all the time. When I met Keira, I realized that she asks questions of herself and other people, and is really a tomboy. She has a lively mind and a great sense of humor. During shooting, she kept on surprising me. What does one look for in an actor? Originality of thought; somebody who is able and willing to give their heart to what they are doing, and is able to really listen to the other actors. Keira did all of that, and was a hard worker.

    Critical Response

    Roger Ebert, Chicago Sun-Times:

    Much of the delight and most of the heart comes from Keira Knightley, who plays Elizabeth as a girl glowing in the first light of perfection. She is beautiful, she has opinions, she is kind but can be unforgiving. “They are all silly and ignorant like other girls,” says her father in the novel, “but Lizzie has something more of quickness than her sisters.” Knightley’s performance is so light and yet fierce that she makes the story almost realistic; this is not a well-mannered “Masterpiece Theatre” but a film where strong-willed young people enter life with their minds at war with their hearts.

    Wesley Morris, Boston Globe:

    The movie’s first half is worth seeing a second or third time just to catch what all the major cast members are doing with their faces and where they put their eyes. In this regard, no one in Pride & Prejudice is busier than Knightley. Several scrapbooks full of Kodak moments could be filled with her gallery of rolled eyes, devilish grins, and angrily furrowed brows. Knightley boldly creates Elizabeth’s most modern-seeming incarnation. She’s a coltish tomboy, but she hasn’t given up on girlishness. She just refuses to entertain Dream House Barbie aspirations, which has been true of the character since Austen came up with her in 1813. The actress just brings out more of her edge. With that fearsomely square jaw of hers, Knightley will never be mistaken for a straight-up glamour puss. (In my dreams, she’d have Elizabeth Bennet smoking in the girls’ room.) But those of us who put ourselves through King Arthur and Domino looking for signs of a great actress can leave Pride & Prejudice ecstatic. We finally get what we paid for.

    Stephen Holden, New York Times:

    The second of five well-brought-up but impecunious Bennet sisters, whose fluttery mother (Brenda Blethyn) desperately schemes to marry them off to men of means, Elizabeth prevails in the novel through her wit and honesty, not through stunning physical beauty. Among the five, the belle of the ball is Elizabeth’s older sister, Jane (Rosamund Pike), who is as demure and private as Elizabeth is outspoken and opinionated. But because Ms. Knightley is, in a word, a knockout, the balance has shifted. When this 20-year-old star is on the screen, which is much of the time, you can barely take your eyes off her. Her radiance so suffuses the film that it’s foolish to imagine Elizabeth would be anyone’s second choice.

    Claudia Puig, USA Today:

    (…) This is because of an outstanding performance from Knightley as Lizzy Bennet, which lifts the whole movie. She gives a performance of beauty, delicacy, spirit and wit; in her growing lustre and confidence she is British cinema’s answer to Kate Moss, but Moss is a star from the silent era. Knightley is from the talkies. Only a snob, a curmudgeon, or someone with necrophiliac loyalty to the 1995 BBC version with Colin Firth and Jennifer Ehle could fail to enjoy her performance. Knightley’s Lizzy is a naughty sceptic, a droll outsider; a team leader from the awkward squad, much given to fits of giggles and pert backtalk, with sisterly kicks under the table given and received. It is a great moment when she overhears Darcy describe her as merely “tolerable” in looks, and then flings the word in his face before walking insouciantly away. Knightley has demanding, emotional scenes in searching closeup and handles them triumphantly. Her star quality will quite simply roll over you like a tank.

    Derek Elley, Variety:

    Looking every bit a star, Knightley, who’s shown more spirit than acting smarts so far in her career, really steps up to the plate here, holding her own against the more classically trained Macfadyen (as well as vets like Blethyn, Sutherland and Judi Dench) with a luminous strength that recalls a young Audrey Hepburn. More than the older Ehle in the TV series, she catches Elizabeth’s essential skittishness and youthful braggadocio, making her final conversion all the more moving.

    Awards and Nominations

    Below is a list of all accolades Keira has received for her role in the film.

    NOMINATED: Academy Awards – Best Performance by an Actress in a Leading Role
    NOMINATED: Awards Circuit Community Awards – Best Actress in a Leading Role
    NOMINATED: Boston Society of Film Critics Awards – Best Actress
    NOMINATED: Chicago Film Critics Association Awards – Best Actress
    NOMINATED: Critics’ Choice Awards – Best Actress
    NOMINATED: Dallas-Fort Worth Film Critics Association Awards – Best Actress
    NOMINATED: Empire Awards – Best Actress
    NOMINATED: Golden Globes – Best Performance by an Actress in a Motion Picture (Comedy or Musical)
    NOMINATED: Gold Derby Awards – Lead Actress
    NOMINATED: International Online Cinema Awards – Best Actress
    NOMINATED: London Critics Circle Film Awards – British Actress of the Year
    NOMINATED: National Society of Film Critics Awards – Best Actress
    NOMINATED: Online Film Critics Society Awards – Best Actress
    NOMINATED: Satellite Awards – Outstanding Actress in a Motion Picture, Comedy or Musical
    NOMINATED: St. Louis Film Critics Association – Best Actress
    NOMINATED: Washington DC Area Film Critics Association Awards – Best Actress
    NOMINATED: Washington DC Area Film Critics Association Awards – Best Acting Ensemble

    WON: New York Film Critics Online – Best Actress
    WON: Women Film Critics Circle Awards – Best Ensemble Cast