Mansfield Park

Drama | English | 112 minutes

Info

Ten-year-old Fanny Price is sent to live with her wealthy uncle and aunt, Sir Thomas and Lady Bertram, as her own parents do not have enough money to support their many children. Fanny is not treated well in her new home, more like a servant. The only one in the household who treats her decently  is her cousin Edmund. The two develop a close friendship as the years go by. The Bertram family is disrupted with the arrival of Henry and Mary Crawford, relatives of the local clergyman. Conflicts arise as cousins Maria and Julia vie for Henry’s affection while Henry favors Fanny. But Fanny is conflicted as she still pines for Edmund.  

Cast
Frances O’Connor (Fanny Price) / Harold Pinter (Sir Thomas Bertram) / Lindsay Duncan (Lady Bertram) / Jonny Lee Miller (Edmund Bertram) / Alessandro Nivola (Henry Crawford) / Embeth Davidtz (Mary Crawford)
Why Stream This Film?
The following quote from film critic Peter Stack: “Intelligence and beauty – and teasing romance – shape MANSFIELD PARK into a gorgeous, enchanting experience. This may be the first film that truly captures Jane Austen’s characters in flesh and bone.”
  • Rotten Tomatoes Score (Critics Consensus): 77%
  • Metacritic Score: 71
Accolades
  • Chicago International Film Festival: Nominated, Best Feature Film
  • Montreal World Film Festival: Nominated, Best Director (Patricia Rozema)
Unlike other popular Austen adaptations, MANSFIELD PARK doesn’t dote on the high-brow, upper-class realm in which most of it is set. Like its wonderful central characters, MANSFIELD PARK is a full, rich experience.
Peter Stack

San Francisco Chronicle

MANSFIELD PARK is a politically pointed screen adaptation of Jane Austen’s third novel. This reminder of how every age foolishly fancies itself the most progressive and enlightened in the history of the world is drenched in irony. And it speaks to the heart of a film that is determined to invest Austen with as many prickly contemporary resonances as it can shoehorn in without appearing wildly anachronistic.
Stephen Holden

The New York Times

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