Societal Constraints In Neverwhere And Joe Wright's 2005 Film

Neil Gaiman’s novel Neverwhere and Joe Wright’s 2005 film adaptation of Pride and Prejudice explore the liberation that emanates from transgressing societal constraints. Both text creators delve into restrictive and rigid societal structures and explore the role of their respective protagonists who refuse to conform to societies which shun outcasts. Gaiman’s novel follows Richard Mayhew as he is thrust into a fantastical and perilous underworld beneath London, where he must navigate a series of challenges and confront his own identity to restore order and find his way back to his former life. In Jane Austen’s Pride and Prejudice, Elizabeth Bennet navigates the complexities of social class and personal relationships in 19th-century England,

The blend of symbolic environments and the detrimental effects of such cultures. The stark divisions between Gaiman’s ‘London above’ and ‘London below’ serve as a cogent metaphor for societal constraints, illustrating the isolation of those who do not belong in the world above (32). ‘London Above’ symbolises the stratified society where individuals are burdened by societal expectations, such as the protagonist Richard Mayhew (32). Correspondingly, London Below is a residency for outcasts and nonconformists, rejected from London Above, this juxtaposition of worlds positions the audience to comprehend and sympathise with the struggles of those who do not integrate into society. Similarly, Wright establishes setting through the mise en scene of his film, in which estates are grand, symmetrical, and opulent, mirroring the rigid societal

Wright’s use of musical scores highlights pivotal moments of heightened emotions, Dario Marinelli’s score as Elizabeth realises her affection for Darcy, the orchestrate swelling as she reflects represents the value of choosing to pursue her desires despite societal constructs. This resonates with the audience and leads to the understanding of its importance in achieving growth. In contrast, Gaiman employs allegories and allusions to further highlight the importance of liberating oneself from societal structures. The allusion of the fallen angel, a once worshipped and pure individual who becomes corrupt in abundance of power. The angel of Islington, who seeks to restore himself to his celestial being, manipulates Richard and Door and exposes them to danger. The allusion of Lucifer, and angels who ‘go bad’ are ‘worse than anyone’ (229). The audience is positioned to see the malicious intents of societal or authoritative figures, further establishing the dangers of conforming to norms. The novel uses this allegory to show how blind adherence to societal norms is dangerous and can lead to one's downfall and hinder personal growth, Furthermore, the editing and pacing of the film reflects the characters inner turmoil. Wright’s use of quick cuts highlights the tension characters face at social gatherings, such as balls.