The film and the novel both follow the same strict plot, Emma, the rather arrogant protagonist, fumbles the affairs of various friends and acquaintances because of her meddling, until she eventually finds love—albeit only after realizing that she accidentally forced one of her friends into the arms of the man with whom she now realizes she is in love.
The film does a good job adapting the novel and is set in the appropriate time and place, with gentility and wealth evident in Emma's life and household. However, the film took some liberties with the character of Emma in particular.
Jane Austen notably stated prior to publishing this book that she desired to write a protagonist that few people would like as a person. Emma is noticeably arrogant, stuck up, and busy-bodied—constantly meddling in others' affairs and believing herself to be truly skilled in matchmaking and numerous other...
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endeavors.
The film version of the character is much gentler and kinder. The filmmakers opted to make the protagonist well-intended and generous but still inept at matchmaking. There was likely a need to reduce her personal improvement and journey due to the time constraints of a film, which may have contributing to the softening of the character.
The 1996 movie version of Emma, starring Gwyneth Paltrow as Emma, is a fairly faithful adaptation of the novel. It is set in the same time period and follows the story line of the book.
A major difference lies in the depiction of Emma. Austen's Emma is more flawed than Paltrow's and treated more satirically—meaning that Austen pokes more fun at her than the movie does at its Emma. Perhaps because of his lead's star power, McGrath softens Paltrow's Emma's harsher edges, making her a more likable character. She is less of a snob, less clueless, and less arrogant toward people she considers her inferiors than her novelistic counterpart is. For that reason, her reformation makes less of an impact on an audience, as the movie Emma has fewer personal flaws to overcome.
Minor differences include details such as hair color—which is not important to the storyline but is possibly irksome to Austen fans who envision their Emma with dark hair and their Jane Fairfax with fair hair.
Jane Austen's novelEmma is full of lively characters who "have resources" of inner strength and joy. While they may be saddened, they do not succumb to modern-day demonstrations of depression or despondency. Even Harriet, whose grief over Elton is protracted and loud with silly aspects, never sinks into motivationless, joyless depression or despondency.
The film embraces a modern interpretation and spreads depression through Emma's early characterization as shown in her first close-up at Mrs. Weston's wedding reception through to the first visit from Mr. Knightley when Emma decides Mr. Elton needs matchmaking assistance. Modern psychological characterizations also inform other characterizations, such as the sinister attitude of bitter irony Frank displays when he first meets Emma while she is stuck in a puddle from caused by rain flooding: "Is your horse just washing his feet or are there darker forces at work here?" The situation and the dark psychological characterization are not part of Austen's narrative. Some specific differences follow.
Variation in Scenes and Presentation of Facts: Mrs. Weston's wedding opens the film while the novel begins afterward once the couple is away from Hartfield. Mr. Weston takes the narrator's role in the novel and explains in the film to Harriet about his son Frank Churchill.
when his wife died, after a three years' marriage, he was rather a poorer man than at first, and with a child to maintain. (Austen)
Altered Characterizations:Example: Mr. Elton is characterized, or more properly stated caricaturized, in the film in a way similar to Austen's characterization of Mr. Collins in Pride and Prejudice. While they share the same profession, Elton is no Collins. Elton is rational gentleman enough to be admitted to Mr. Knightley's society whereas Collins would not have been or would have been tolerated though not welcome. This negative alteration of characterization applies equally to others such as Miss Bates; Mrs. Elton; Emma herself.
Reconstructed, Modernized Lines: FILM: "Mr. Elton is a man of twenty-six. He knows how to take care of himself." NOVEL: "Depend upon it, a man of six or seven-and-twenty can take care of himself."
Presence of Silent Servants: No hint in the novel is given of household servants at all. They are the silent and invisible "other" in the novel though visible in the film.
Psychological Assumptions:Example: Emma has lost her governess so, along with sadness, which is clearly indicated by Austen, she must also be depressed or despondent as well, which is indicated by Paltrow in her posture in the first Hartfield dinner table scene and her bitter tone to Mr. Knightley during his first filmed visit at Hartfield.
The comparisons of similarities lie in the scenes and situations that arise and in the general relationships, actions, and behaviors of the characters. While their psychology is altered in the film, the roles they play are not altered, only the attitudes with which they fulfill those roles are altered, which, to some, amounts to a great deal of alteration.