What is the best Jane Austen adaptation of all time? An investigation
In her time, Jane Austen only wrote six completed novels, per the Jane Austen Society of North America. This number pales in comparison to other British authors: Charles Dickens wrote 15, per the British Library; George Eliot wrote seven, per The Guardian; Sir Arthur Conan Doyle wrote 24, per the Arthur Conan Doyle Encyclopedia.
But it seems that no other author has the most movie and television adaptations under their belt as Austen. While I haven’t tracked down every single adaptation (who has the time?!), by my estimation there are at least 40 Austen adaptations out there. (If you ask my dad and my brother, after suffering through my mom and I watching most of them, there are simply 40 too many).
Not every adaptation is made equal — inevitably, some are better than others. So out of the dozens and dozens of Austen adaptations, here are the top 10.
10. ‘Northanger Abbey’ (2007)
“Northanger Abbey” is Austen’s stab at satire of Gothic novels. It’s also, as far as I can tell, one of Austen’s least-adapted novels.
While, in my opinion, “Northanger Abbey” is lacking in the typical substance often found in Austen’s work, it makes up for it in satire. Teenaged Catherine Morland is obsessed with Gothic novels and has a runaway imagination to match. When she travels to Bath with her neighbors, the Allens, Catherine finds herself immersed in a Gothic novel of her own — which is entirely a figment of her overactive imagination.
“Northanger Abbey” is probably my least favorite Austen novel, but even I’m not immune to this 2007 adaptation. Felicity Jones plays Catherine with wide-eyed innocence, in awe of the new experiences before her. And the romance between her and Henry (JJ Feild) is sweet and full of chemistry.
9. ‘Austenland’ (2013)
While this isn’t exactly an adaptation of one of Austen’s works, “Austenland” is thoroughly immersed in the culture around Austen fans — and lovingly pokes fun at it.
Keri Russel plays Jane Hayes, an American woman who is obsessed with all things Austen and unsatisfied with her own love life. On a whim, Jane decides to spend her life’s savings on an Austen-themed resort in England, called Austenland.
In Austenland, guests are thoroughly immersed in Austen’s world and are surrounded by actors — plus, each guest is guaranteed a “happily ever after” with a male actor. There, Jane meets and befriends the wealthy Elizabeth, played hilariously by Jennifer Coolidge, as well as the beautiful and well-mannered Lady Amelia Heartwright.
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While at Austenland, Jane finds herself thrust in the middle of a love triangle with two entirely different men: the cool and cavalier Martin (Bret McKenzie) and the Darcy-like Henry Nobley (JJ Feild, an Austen adaptation alumni).
“Austenland” is zany and camp, but will likely resonate with die-hard Austen fans. It’s also based on the novel of the same name by Shannon Hale.
8. ‘Sanditon’ Season 1 (2019)
Ever heard of “Sanditon”? No? That’s probably because it was Jane Austen’s final novel, never completed due to her death in 1817.
In 2019, PBS Masterpiece took on the valiant effort of adapting Austen’s unfinished novel into a miniseries. The story follows Charlotte Heywood, the eldest daughter of a large family who is swept away to a seaside town called Sanditon.
Once there, she becomes intertwined in the town’s quirky characters and politics — and the brooding and handsome Mr. Sidney Parker. Since the novel was unfinished, the miniseries had to take some liberties and fill in a few blanks. But the romance between Sidney (Theo James) and Charlotte (Rose Williams) is very endearing to watch.
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A quick, spoiler-ish warning: The show goes a bit off the rails at the end of Season 1 and in the subsequent two seasons. It’s mostly because James left the show after the first season, so Sidney doesn’t come back for the last two.
But the first season remains to be a favorite of mine, despite an incredibly controversial ending.
7. ‘Clueless’ (1995)
Who would’ve thought that a novel sent in Regency England would fit so well in a Southern California high school in the 90’s? If Jane Austen herself were alive today, I think she’d absolutely love “Clueless.” Not only is it a practically perfectly teenage romcom, it also manages to modernize Austen’s themes in “Emma” flawlessly.
I hate to shatter the illusion, but “Clueless” gets its source material from Austen’s “Emma.” In this modern version, Emma is Cher (Alicia Silverstone), a beautiful, popular and meddling teenager. Paul Rudd is the Mr. Knightley to Silverstone’s Emma as Josh, Cher’s ex-stepbrother.
If you’re willing to get past the slight weirdness of Cher getting together with her stepbrother (on the other hand, characters in Austen’s novels literally married their cousins, so who are we to judge?), their romance is sweet and filled with hormonal butterflies.
The cast includes other teen stars of the era, like the late Brittany Murphy as Tai (Harriet), Stacey Dash as Cher’s best friend Dionne, Donald Faison as Dionne’s boyfriend Murray and more.
6. ‘Sense and Sensibility’ (2008 miniseries)
There will be not one, but two “Sense and Sensibility” adaptations on this list. Because while “Sense and Sensibility” 1995 has plenty of sweetness and humor (more on this later), this miniseries adaptation has angst.
In “Sense and Sensibility” 2008, we truly get a sense of how devastating their father’s death is to Elinor, Marianne, Margaret and their mother. Not only have they lost their father, but they also lost their economic comforts and status. They hoped their half-brother, John, would provide; he did not.
As four women in the Regency Era, without a male caregiver, they are dependent on the kindness of the men around them. And as it turned out, John (or more specifically, his wife) was not so kind. The Dashwoods have the rug pulled out from under their feet. They leave their home, forced to live in a significantly smaller cottage on the estate of Sir John Middleton, Mrs. Dashwood’s cousin.
Elinor is the sensible sister. Marianne, the feeling one. Both navigate devastating loss and change in their own way, but both come upon the same end: love. Elinor finds love in Edward Ferrars (Dan Stevens) and Marianne first finds love with John Willoughby (Dominic Cooper), but eventually ends up with Colonel Brandon.
This adaptation is teeming with angst: swelling music, pained, longing looks and pining. Also, there’s an unexpected duel. With swords. Is it needed? Maybe not! But is it appreciated? Absolutely!
5. ‘Pride and Prejudice’ (1995 miniseries)
To avoid a mob of angry Austen fans appearing at my front door in the middle of the night, armed with pitchforks, I simply had to include 1995’s “Pride and Prejudice” miniseries.
For the record, while it is not my absolute favorite, I do very much enjoy this BBC miniseries. Jennifer Ehle gives my favorite portrayal as Elizabeth: headstrong, opinionated, eloquent and flawed. Colin Firth is a very dreamy and, perhaps a tad too arrogant, Mr. Darcy.
Beyond the well-placed cast, this “Pride and Prejudice” miniseries is incredibly faithful to the book. It takes ample time to not only illustrate the blossoming romance between Elizabeth and Darcy, but explore the relationship dynamics between other characters, as well.
“Pride and Prejudice” 1995 gives a little more time to the relationship between Elizabeth and her father, for example, as well as fleshing out Mr. Bingley and Darcy’s interactions with Bingley’s two sisters.
Plus, David Bamber is my favorite Mr. Collins. He plays him as bumbling, goony and goofily devoted to the illustrious Lady Catherine de Bourgh.
4. ‘Pride and Prejudice’ (2005)
What can I say about “Pride and Prejudice” 2005 that I haven’t already said? My favorite “Pride and Prejudice” adaptation (sorry, folks!), this version brings on the realism and the romance.
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While Keira Knightley plays a slightly sillier Elizabeth, she manages to portray her stubborn thoughtfulness well. In this adaptation, Elizabeth isn’t perfect — instead she’s confident and opinionated, but imperfectly so.
Matthew MacFayden as Darcy is an awkward introvert to his core. In every social function I can practically see tiny little thought bubbles protruding out of Darcy’s head, each begging: “Get me out of here.” MacFayden infuses Darcy with pride, sure, but feeling. Colin Firth’s Darcy came across as pompous. MacFayden’s was just socially inept.
Knightley and MacFayden are surrounded by an affecting cast. Rosamund Pike, especially, portrays Jane with an endearingly shy sweetness. And the music. “Pride and Prejudice” 2005 is perfect for all those hopeless romantics out there.
3. ‘Sense and Sensibility’ (1995)
I have a confession: I adore Emma Thompson.
If someone utters her name in my presence, I will immediately shower them with my favorite facts about the actress and writer: Did you know that she wrote the screenplay for “Sense and Sensibility”? And that she got nominated for both best adapted screenplay and best actress for the film at the 1996 Oscars? And that she actually won best adapted screenplay?
All of these facts are true, dearest reader, which is why 1995’s “Sense and Sensibility” is my personal favorite adaptation of the novel.
It has an insanely stacked cast: Thompson as Elinor Dashwood. Kate Winslet as the romantic Marianne (which got her an Oscar nom for best supportive actress at the tender age of 19). The late, great Alan Rickman plays Colonel Brandon. Hugh Grant is a kind, stuttering, floppy-haired Edward. Hugh Laurie is hilarious as a very dry and grumpy Mr. Palmer.
Thompson’s adaptation (and portrayal) is both aching and unexpectedly funny. It also has my favorite version of Edward’s proposal: upon realizing that Edward is no longer engaged to Lucy Steele, Elinor lets out a sob/grunt (a grob?) and, overcome, collapses on a chair, while her family makes knowing eye contact and shuffles awkwardly out of the room.
Much like the film in its entirety, the moment is lovely, sincere, funny and endearing.
2. ‘Persuasion’ (1995)
“Persuasion” is often regarded as Austen’s most mature work (which was why Netflix’s 2022 adaptation was so loathed by fans).
As Laura E. Clex wrote for the Jane Austen Society of North America, “Persuasion” “... exposes itself to a deeper investigation of emotional identity, of both the linear and cyclical passage of time, and of the social, political, and moral order in the region of 19th century Britain that, for Anne Elliot, comprises her world.”
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No other adaptation best captures this emotional depth than 1995’s “Persuasion” (it’s also my dad’s favorite, so the film has that going for it). Amanda Root gives a quietly formidable performance as Anne, who is shy and full of regret and longing.
Ciarán Hinds’ portrayal of Captain Wentworth begins stony-faced, eventually warming up and confessing his feelings for Anne. He also gives one of the best lines of the film (and the novel): “I can listen no longer in silence. I must speak to you by such means as are within my reach. You pierce my soul. I am half agony, half hope.”
It gets me every single time. Hinds delivers it so sincerely that, if someone ever said something similar to me, I would immediately faint.
1. ‘Emma.’ (2020)
2020’s “Emma.” is the No. 1 Jane Austen adaptation on this list (and in my heart). In my opinion, it is the best Jane Austen adaptation, hands down.
“Emma” is a novel that is often deeply misunderstood and misinterpreted. Most adaptations fall under the mistake of taking its source material entirely too seriously (I’m looking at you, “Emma” 1996).
But in all actuality, “Emma” is a satire. Its heroine, the titular Emma, is supposed to be unlikeable — Austen herself described Emma as “a heroine whom no one but myself will much like,” according to The New York Times. It seems that 2020’s “Emma.” is the only adaptation (besides “Clueless,” of course) to not only understand this, but take the novel’s satire in its stride.
Director Autumn de Wilde understood that, in “Emma,” Austen takes a magnifying glass to small town life and exaggerates it by a thousand. This is clear in “Emma.”, which de Wilde envisioned as “as part romantic comedy, part slapstick” and required the cast “to watch the Cary Grant-Katharine Hepburn classic ‘Bringing Up Baby’ to set the right mood,” per The New York Times.
The result is almost perfect in tone: Anya Taylor-Joy plays Emma as the Regina George of the Regency Era. Johnny Flynn is a rougher, but kind Mr. Knightley. Mia Goth is a naive but sweet Harriet. And Bill Nighy is perfectly cast as the nervous, hypochondriac Mr. Woodhouse.
Besides a thorough understanding of the original text, “Emma.” is just gorgeous to look at. It’s swathed in pastels, florals and the beautiful greenery of the English countryside.