Sexy spark behind BBC’s Pride and Prejudice: Davies recalls the 1995 adaptation

The BBC’s 1995 Pride and Prejudice adaptation, written by Cardiff-born screenwriter Andrew Davies, owes its famous tilt toward sex appeal to a former student who urged him to make it 'really sexy.' Davies says the idea came from Sue Birtwistle, who later became a TV producer, and who told him the project should acknowledge that the novel’s plot centers on sex and money, not simply politeness. The six-episode series, which aired in 1995, starred Colin Firth as Mr. Darcy and Jennifer Ehle as Elizabeth Bennet and drew more than 11 million viewers in the United Kingdom. It went on to win two BAFTAs and an Emmy, and helped establish Firth as a leading man in global television.

Davies recalls that the push toward a more provocative read of Austen’s work faced resistance from commissioners who said costume dramas had "gone quite out of fashion." He credits Birtwistle with helping him persevere, noting that the collaboration aimed to present Darcy and Elizabeth’s relationship from Elizabeth’s point of view while still foregrounding the social forces of the era. "You and I should do a really sexy adaptation of Pride and Prejudice," Birtwistle told him, a moment Davies says he will never forget.

The resulting series framed Austen’s Regency-era romance as a drama about desire and money, alongside the etiquette and wit typically highlighted in the author’s work. Davies has said reviews and press coverage reflected a larger-than-usual stir, with audiences forming a sense of a weekly event during a time before binge-watching. The show’s six episodes were released in succession, building anticipation as viewers waited to see whether Elizabeth Bennet would wed the stubborn and aloof Darcy. Davies noted that the approach was not simply about romance but about illustrating how social constraints shape attraction and choice in the English countryside.

The adaptation’s reception helped redefine how audiences think about period pieces on television. Davies described the approach as leveraging the novel’s subplots and tensions, rather than presenting Austen as a genteel exercise in polite dialogue. He said, "More and more people were talking about it as the weeks went on," underscoring how the series became a cultural touchstone beyond traditional fans of the author. The mood around the show was a far cry from the era’s earlier conclusions that costume dramas had fallen out of fashion.

The lake scene remained one of the era’s most talked-about moments. Davies has reflected that he never intended for Darcy’s wet appearance to be a sexual symbol. "I never meant for that to be a sexy scene," he said, explaining that his original concept aimed to provide an intimate, Elizabeth-centered view of Darcy. He admitted the on-screen moment ended up being more suggestive than explicit, noting, "I thought the viewers would see the scene as sweet and comical." Nevertheless, Colin Firth’s portrayal—emerging from the water in a dripping shirt—became a defining image of the series and a turning point in how television audiences perceived romantic heroes. Davies added that Firth’s performance was an extraordinary achievement, and the actor has acknowledged the enduring impact of the role.

The series’ success extended well beyond its initial broadcast window. Firth’s star status rose in tandem with the show’s acclaim, and Pride and Prejudice became a watershed moment for television romance. The production won two BAFTAs and an Emmy, cementing its status as a high-water mark for adaptations of classic literature on screen. Davies has expressed ongoing pride that people continue to watch the series, decades after its premiere, and he remains interested in how the adaptation has influenced subsequent period dramas and how Austen’s universe is interpreted for new audiences.

Elizabeth Bennet’s perspective remained central to Davies’s approach, with the adaptation emphasizing Elizabeth’s agency and the social dynamics that complicate Darcy’s initial pride. The result was a program that could be enjoyed as romance, comedy, and social critique, all at once, and it contributed to a broader reappraisal of Jane Austen’s work in popular culture. Davies notes that perseverance was essential to bringing the project to life, and he says he is gratified that the series continues to resonate with viewers who discovered it years after its original airing.

In reflecting on the production, Davies pointed to the collaboration with Birtwistle as pivotal to its success. The pair’s willingness to reinterpret Austen’s material for a modern audience created a template for future adaptations that sought to balance fidelity to the source with bold cinematic choices. The 1995 Pride and Prejudice remains a reference point for how television can blend period setting with contemporary themes of desire, class, and power, and its legacy persists in the ongoing fascination with Mr. Darcy and Elizabeth Bennet’s evolving dynamic.

Davies’s own career benefited from the series’ enduring popularity. He has said he’s "absolutely thrilled" that audiences still engage with the adaptation and that its influence on both viewer expectations and the genre remains evident. The combination of social insight, romance, and a willingness to subvert expectations about Austen’s work helped position Pride and Prejudice as a cultural touchstone that continues to shape conversations about period drama on screen.

As the conversation about Austen’s canon evolves with each new adaptation, Davies’s 1995 vision endures as a reminder that popular TV can reimagine classic texts without losing their core concerns. The collaboration that began with a bold suggestion to make Pride and Prejudice 'really sexy' ultimately yielded a program that balanced flirtation with social critique, and that balance continues to inform how audiences and producers approach literary adaptations in Culture & Entertainment.