Movies
Natalie Portman Toplines Lionsgate’s(!) ‘Pride and Prejudice and Zombies’
Consider that UK TV series rumor squashed to the bone as it was announced that Natalie Portman will officially star in and produce Pride and Prejudice and Zombies, a film that is based on the bestselling book written by Seth Grahame-Smith and Austen. The big news is that Lionsgate will finance and distribute! Quirk Books published the tome. Read on for the skinny.
Though Austen’s name is on the book, Grahame-Smith took the lib-erty of adding bloodthirsty flesh-eating zombies to the mix.
Portman will produce through her handsomecharlie shingle with Annette Savitch, plus Darko Films’ Richard Kelly, Sean McKittrick and Ted Hamm.
Described as an expanded version of the Austen classic, the book tells the timeless story of a woman’s quest for love and independence amid the outbreak of a deadly virus that turns the undead into vicious killers.
Portman will play feisty heroine Elizabeth Bennet, who is distracted from her quest to eradicate the zombie menace by the arrival of the arrogant Mr. Darcy. Darko just released “The Box,” “World’s Greatest Dad” and “I Hope They Serve Beer in Hell.”
Portman stars in the Jim Sheridan-directed drama “Brothers” for Relativity Media and Lionsgate. Her handsomecharlie banner recently set up “Booksmart” at Fox and is partnered with Plan B at Paramount on an adaptation of the Leanne Shapton book “Important Artifacts,” a potential screen vehicle for Portman and Brad Pitt.
Her shingle just wrapped production on “Hesher.”
“Natalie and I are longtime passionate fans of Jane Austen’s books and this a fresh, fun and thought-provoking way to approach her work,” Savitch said. “The idea of zombies running rampant in 19th Century England may sound odd, but it lends a modern sense of urgency to a well known love story.“
The trailer for Ti West’s upcoming adaptation of A Christmas Carol raised a lot of eyebrows when it dropped earlier this week. While plenty of folks initially dismissed Ebenezer as a derivative project meant to cash in on the recent wave of unnecessary prequels that expand the backstory of beloved characters (such as 2023’s Wonka), Charles Dickens’ original novel already made a point of exploring Ebenezer Scrooge’s origins in detail – meaning that this new film is likely just a particularly faithful adaptation of the source material under a different name.
Couple that with the fact that the movie is being helmed by a genuine horror auteur and I think it’s safe to say that the latest iteration of the first modern ghost story is in good hands.
That being said, one detail that immediately jumped out at me during the brief teaser (other than a blink-and-you’ll-miss-it nod to Johnny Depp’s iconic bedroom death scene from the original A Nightmare on Elm Street) is the fact that many of Ebenezer’s ghosts appear to have been directly lifted from the iconic John Leech illustrations that accompanied the first edition of Dickens’ novel.
Here are a couple of stills from the trailer compared to the original artwork:
The Ghost of Christmas Yet to Come in ‘Ebenezer’ and ‘A Christmas Carol’
The Phantoms in ‘A Christmas Carol’ and ‘Ebenezer’
Marley’s Ghost in ‘Ebenezer’ and ‘A Christmas Carol’
Mainly working with old-school wood and steel engravings that would later be transferred to print, Leech was instrumental in crafting the iconic look of history’s most influential phantoms – especially since Dickens is said to have been deeply involved with the creation of these so-called “comic illustrations.”
And since the novel is commonly said to have popularized spiritualism in Victorian England, much of the ghostly iconography that we still see in genre media to this very day (including some of Ti West’s previous films) can be traced back to the author’s partnership with Leech.
Ebenezer won’t be the first A Christmas Carol adaptation to borrow heavily from these designs, but I can appreciate how Ti West is incorporating an important part of horror history into his latest film.
Ebenezer will be available in theaters starting November 13.
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