Season #: 2, 1
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Critic Reviews
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As the mystery unspools, Darcy withdraws from Elizabeth, and their relationship falters. Suspicions are raised, and Elizabeth must sort out the truth. Expect a dramatic trial and a surprising new suspect before it's all over. Of course, the joy isn't in reaching an answer. It's in the journey.
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It's a highly satisfying riff on the original work, as well as a credit to the modern British costume drama.
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Death Comes to Pemberley has the extra advantage of being perfectly cast and extremely entertaining, even for those who might need a Jane Austen refresher course.
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The adaptation is superb as it explores the Austen-James characterization, but Towhidi is ably abetted by Daniel Percival’s exquisite character-focused direction and, of course, first-rate performances from the entire cast.
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Even if this isn’t precisely the sequel to “Pride and Prejudice” we might have wanted, it’s better than no sequel at all.
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Death Comes to Pemberley works so well because the characters are so perfectly realized. Affairs, unwed pregnancies, and murder all abound, but at the heart of the series is the story of a marriage.
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A pleasingly executed diversion featuring capable and textured performances from actors in key roles.
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Amid occasional incongruities--wait and see--there are entertaining glimpses of period party food, hints of primitive forensics, and a village trial with inebriated jurors and a cheering, jeering peanut gallery that seems eerily authentic.
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Death Comes to Pemberley, on paper and the small screen, is not as satisfying as a newly discovered Austen novel would be.
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Amid the magnificence of the setting you can forget for a moment that this glossily produced, finely wrought, slightly dull two-night mini-series is actually connected to a piece of British storytelling of even higher standing--perhaps--than “Downton Abbey”: Jane Austen’s “Pride and Prejudice.”
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The crime (and the crime solving) can’t hold a candle to the delight of watching Elizabeth and Mr. Darcy drift apart and then back together in a refrain of their story of obstinate love--a task Rhys and Maxwell Martin acquit themselves of quite well.
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