Gurinder Chadha’s film adaption “Bride and Prejudice” is by far the most creative interpretation of Pride and Prejudice that we have watched. Through Chadha’s aesthetic interpretation, cultural integration and genre manipulation, his film adaptation sets itself apart from Leonard’s 1940 Pride and Prejudice as well as Wrights 2005 interpretation.
Chanda’s aesthetic taste is bold. While Leonard and Wright’s interpretations feature the regular attire of 19th Century English life, such as corsets and flowery bonnets, Chanda’s film adaptation swerves from the normative and features women dawning colorful saris and beautiful head and body jewelry.
In the prior film adaptations, Pride and Prejudice had been set in England and consisted of a predominantly Caucasian cast. Chanda’s flips the script *so to speak* and sets the film in India, where a majority of the actors are of Indian descent.
A risky move on Chanda’s part, he messes with the genre of the film. The movie incorporates snippets of coordinated dances and songs, similar to a Broadway play. It could be said the Chanda’s mixes the two in his Interpretation.