제인 오스틴의 못 다한 이야기: <레이디 수전>
An Untold Story of Jane Austen: <Lady Susan>
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In this paper, I offer a feminist reading of Jane Austen’s short epistolary novel Lady Susan and its 2016 film adaptation directed by Whit Stillman. Both book and film focus on the successful remarriage of a manipulative 35-year-old widow, Lady Susan Vernon, and on her urgency to marry off her daughter, Frederica. In his adaptation, Stillman emphasizes the feminist perspective that is implied in the book, portraying Lady Susan as a selfish devil who, in spite of deceiving the people around her, is justified in many ways. In order to sympathize with Lady Susan, Stillman believes that it is important to emphasize her identity as a poor widow who tries to survive by using her beauty and attraction to challenge conservative nineteenth-century British society. In addition, the men she manipulates are portrayed more foolish than in the novel. Unlike Austen’s Lady Susan who manages to evade nearruin, her Hollywood counterpart enjoys a bigger victory, marrying Sir James and successfully matching her daughter with Reginald De Courcy. As a result, in a film produced about 220 years after the book’s publication, Lady Susan succeeds in a way that Austen may have wanted but dared not depict, thus making the film the most innovative feminist film adaptation of Austen yet. Regrettably, the film sacrifices some of Austen’s charm, which comes from her use of dramatic irony, but its feminist message makes up for it.
Abstract
In this paper, I offer a feminist reading of Jane Austen’s short epistolary novel Lady Susan and its 2016 film adaptation directed by Whit Stillman. Both book and film focus on the successful remarriage of a manipulative 35-year-old widow, Lady Susan Vernon, and on her urgency to marry off her daughter, Frederica. In his adaptation, Stillman emphasizes the feminist perspective that is implied in the book, portraying Lady Susan as a selfish devil who, in spite of deceiving the people around her, is justified in many ways. In order to sympathize with Lady Susan, Stillman believes that it is important to emphasize her identity as a poor widow who tries to survive by using her beauty and attraction to challenge conservative nineteenth-century British society. In addition, the men she manipulates are portrayed more foolish than in the novel. Unlike Austen’s Lady Susan who manages to evade nearruin, her Hollywood counterpart enjoys a bigger victory, marrying Sir James and successfully matching her daughter with Reginald De Courcy. As a result, in a film produced about 220 years after the book’s publication, Lady Susan succeeds in a way that Austen may have wanted but dared not depict, thus making the film the most innovative feminist film adaptation of Austen yet. Regrettably, the film sacrifices some of Austen’s charm, which comes from her use of dramatic irony, but its feminist message makes up for it.
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