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By Deborah Yaffe, Sep 19 2019 01:00PM

A few weeks ago, as ITV began airing a much-hyped miniseries based on Sanditon, the seaside novel Jane Austen left unfinished at her death, a painter commissioned by the broadcaster started work on a giant billboard promoting the series (see under: much-hyped).


Artist David Downes finished the job earlier this month, and from the photo I’ve seen, the completed painting, on a twelve-meter-wide billboard in the British seaside town of Bournemouth, looks rather lovely: a green and rocky coastal seascape dotted with sails, under a sky full of wispy, streaming clouds. Even the rather prominent “ITV” logo in the lower left-hand corner doesn’t detract from the scene’s intriguing combination of tranquility (those peaceful boats) and edgy energy (those scudding clouds).


Sanditon won’t officially make it to US screens until January, although YouTube appears to be replete with opportunities to view the four episodes that have screened so far in the UK. (I will not be availing myself of these opportunities, given their dubious safety and legality; as a producer of intellectual property, I try not to collude in the likely theft of other people’s.)


Judging from the reviews in the British press, however, the show seems long on titillation – male nudity! Outdoor sex! Hints of brother-sister incest! – and short on the wit and subtlety that notably characterize the works of Jane Austen. (No big surprise, since screenwriter Andrew Davies has said he ran out of Austen material halfway through episode 1.) I’m withholding judgment until January, but it’s entirely possible that this billboard may turn out to be the best thing to come out of ITV’s Sanditon.


By Deborah Yaffe, Aug 22 2019 01:00PM

For the past week or so, barely a day has passed without a story in the British press about the forthcoming eight-part television mini-series Sanditon, based on the novel Jane Austen left unfinished at her death.


Just in case anyone has missed the news, however, broadcaster ITV has commissioned a twelve-meter-wide billboard in the southern English coastal town of Bournemouth, which will be painted publicly over five days beginning Sunday, the day the show begins airing in Britain. (U.S. viewers will see the show sometime next year.) The acrylic-and-ink painting by artist David Downes “will recreate an illustrated version of the poster artwork for Sanditon,” according to press accounts of the project.


It’s not clear to me if this means that Downes’ painting will mirror actual publicity for the television show or be designed to look like publicity for the fictional seaside resort where the story takes place. Either seems possible. In any case, the billboard will stay up for three weeks once it’s finished, providing plenty of opportunities for further panting press coverage.


Downes, who has been diagnosed with high-functioning autism and is a vice president of the UK’s National Autistic Society, describes himself as “a landscape painter who amplifies the sense of place and time through the lens of autism.”


Phyllis Ferguson Bottomer, one of the people I profiled in Among the Janeites, argues that many of the characters in Pride and Prejudice can be understood as on the autistic spectrum, but as far as I know she’s never diagnosed any of the people in Sanditon. Still, you never know what we’re going to get in the ITV version: Screenwriter Andrew Davies has said he used up Austen’s material halfway through Episode 1.


By Deborah Yaffe, Aug 15 2019 06:00AM

Thirteen years ago, when PBS’ Masterpiece Theatre aired a new adaptation of Jane Eyre, the network offered viewers a chance to buy something advertised as, if memory serves, “the companion novel.” That would be Charlotte Bronte’s 1847 masterpiece, one of the landmarks of English literature.


Beginning next week, ITV in Britain will air a new adaptation of Sanditon, the novel Jane Austen left unfinished at her death. As Maggie Sullivan of AustenBlog has noted, ITV is clearly hoping that Sanditon will become another Downton Abbey-style period blockbuster. Since the screenwriter is Andrew “Wet Shirt” Davies, famed for turning Colin Firth’s Mr. Darcy into the definitive Historical Hottie, we’ve already been treated to a moony trailer and many, many teasing allusions to All!The!Sex! we’re going to see.


And now . . . the companion novel.


Yes, it seems that Trapeze Books, an imprint of the UK’s Orion Publishing Group, itself a subsidiary of Hachette, will be issuing two Sanditon tie-in books this fall, just in time for the show’s UK airing, which begins August 25. (Sanditon will make it to the US sometime next year.)


One of the new books, The World of Sanditon, is a non-fiction work by Sara Sheridan, whose numerous previous books include a mystery series set in post-World War II England and a non-fiction tie-in to Victoria, another PBS-ITV costume-drama-cum-soap-opera. (Not that there’s anything wrong with that!) The other new book is a novel entitled Sanditon by -- shall we guess? Jane Austen?


No, by Kate Riordan, a British journalist and fiction writer who has published three historical novels.


Many writers have tried, with mixed success, to finish Austen’s fragment; six years ago, I reviewed most of those efforts. But Riordan’s book is not another continuation of Austen. It’s a novelization of Davies’ screenplay for an eight-hour series that uses up Austen’s material halfway through Episode 1. Yes, this Sanditon is a novel that expands a screenplay that adapts a fragment of a novel. I get dizzy just trying to keep all the layers of adaptation and reinterpretation straight.


I’ve never seen the point of novelizations myself. Why not just watch the movie/TV show? And although Riordan may be an excellent writer -- I've never read anything of hers -- it’s pretty obvious that this particular effort is motivated not so much by a burning artistic drive as by a desire to put the name “Jane Austen” on the cover of a book that is not yet out of copyright.


Personally, I’ll be watching the Sanditon show and skipping the Sanditon book – except for the Sanditon book that is out of copyright. You know -- the one by Jane Austen.


By Deborah Yaffe, Aug 5 2019 01:00PM

It’s been a wet week for Janeites.


Last Monday, we were treated to the first trailer for Sanditon, the forthcoming ITV-PBS adaptation of the novel Jane Austen left unfinished at her death. As Janeites know, Sanditon is set at an up-and-coming seaside resort, and so it’s no surprise that the trailer features plenty of sweeping shots of sandy strands, ocean vistas, and attractive actors disporting themselves on the beach.


By which I mean playing cricket! What were you thinking?


Well, OK: the eight-part miniseries is written by Andrew “Mr. Darcy in a Wet Shirt” Davies, who, at nearly eighty-three, seems to have lost none of his – um – lust for life, not to mention his talent for extracting free publicity from credulous media journalists. In the year since the Sanditon project was announced, Davies has entertained himself by throwing the press pool tidbits of chum, in the form of quotes about how energetically he’s “sexing up” this latest Austen project.


I’m willing to bet that the sex in Sanditon will fall well short of the Fifty Shades of Grey standard – we’re talking PBS here -- but either way, it’s pretty clear that the project won’t have much to do with Austen. She’d barely gotten started on Sanditon before illness forced her to stop work, and in his latest interview Davies says he used up all her material halfway through his first episode.


And speaking of Mr. Darcy in a wet shirt. . .


We Janeites had barely finished toweling off after our trip to Sanditon’s seaside before word arrived that, last Wednesday, flooding had devastated the gardens of Lyme Park, the Cheshire estate that played Pemberley in Davies’ iconic 1995 adaptation of Pride and Prejudice.


It was the reflecting pool in Lyme’s now-inundated grounds that featured in the Davies P&P’s most famous scene, the one starring – oh, irresistible irony! – a soaking-wet Colin Firth in a clingy white shirt.


Although energetic sandbagging seems to have saved Lyme Park’s interior from damage, the flooding, which followed days of torrential rain, forced the evacuation of Wednesday’s visitors and will keep the site closed indefinitely.


Meanwhile, if you’re seeking a watery Janeite fix, you’ll just have to wait for the arrival of Sanditon, screening in the U.S. sometime next year. Or you could just watch P&P again.


By Deborah Yaffe, Jul 29 2019 01:00PM

The Emmy nominations were announced recently, and all the brouhaha over Game of Thrones et al. has left me hankering to award some prizes of my own.


As regular blog readers know, one of my perennial themes is the proliferation on the Internet of quotes from Jane Austen movies masquerading as the words of the novelist herself. It would be fair to say that I do not look kindly upon these sloppy mistakes, so easily avoided in this age of searchable e-texts.


Still, there’s a certain grandeur to this phenomenon – or, at least, to its imperviousness to eradication. Faux Austen quotes are the cockroaches of error, the kudzu of cyberspace. In that spirit, I hereby bring you the Top Five Faux Jane Austen Quotes. In the spirit of the occasion, there are actually six of them.


The Top Five (Or, Actually, Six) Faux Jane Austen Quotes


5. “Perhaps it is our imperfections that make us so perfect for one another.”


Attributed to: Jane Austen, Emma

Actually the work of: Douglas McGrath, Emma (1996)


The cherry on this sundae of inaccuracy: the movie words, spoken by Jeremy Northam's Mr. Knightley moments after Gwyneth Paltrow's Emma has accepted his proposal, are actually “Maybe it is our imperfections which make us so perfect for one another.” But who’s counting?



4. “We are all fools in love.”


Attributed to: Jane Austen, Pride and Prejudice

Actually the work of: Deborah Moggach, Pride and Prejudice (2005)


Yes, we are. (Fools in love, that is.) And also suckers for any mistake that’s repeated often enough.



3. “There are as many forms of love as there are moments in time.”


Attributed to: Jane Austen, Mansfield Park (or, sometimes, “personal correspondence”)

Actually the work of: Patricia Rozema, Mansfield Park (1999)


Maybe it was inevitable that Rozema’s highly idiosyncratic film would spawn a faux quote: after all, she claims to have based her screenplay not only on Austen’s novel and letters but also on her “early journals.” Which don’t exist. (Presumably, Rozema meant the juvenilia, but those are fiction, not autobiography.)



2. (tie) “You have bewitched me body and soul.”


Attributed to: Jane Austen, Pride and Prejudice

Actually the work of: Deborah Moggach, Pride and Prejudice (2005)


2. (tie) “To love is to burn, to be on fire.”


Attributed to: Jane Austen, Sense and Sensibility

Actually the work of: Emma Thompson, Sense and Sensibility (1995)


The problem, as I’ve noted before, is that Jane Austen the Ur-Romance Novelist is actually not given to grand romantic statements. If you want those, you almost have to turn to the movies.



1. “It isn’t what we say or think that defines us, but what we do.”


Attributed to: Jane Austen, Sense and Sensibility

Actually the work of: Andrew Davies, Sense and Sensibility (2008)


This time, the garbling of the faux quote isn’t just a cherry on the sundae; it’s practically a whole extra scoop of ice cream. For, as I’ve reported elsewhere, the real Davies quote, uttered by a newly wised-up Marianne Dashwood, is “It is not what we say or feel that makes us what we are. It is what we do, or fail to do.” But if they won’t check the searchable e-texts, they’re certainly not going to scroll through an entire three-part mini-series to make sure they’ve got it right.



Well, that was refreshing! I like handing out prizes! In fact, tune in Thursday for another round. . .


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