between the two sisters and have them grow apart, as he thought the book depicted them as too "syrupy." Moggach's intent was for Elizabeth to "keep secrets to herself. They are a great burden to her ... As she keeps all this to herself, we feel for her more and more. The truest comedy, I believe, is born from pain." In her "feisty, impassioned" interactions with Darcy and "rebellious refusal to 'perform'" for Lady Catherine, Stewart-Beer sees Knightley's depiction as "far removed from Austen's original Elizabeth, who has a greater sense of grounded maturity, even though both Elizabeths have an occasional inclination to fluster, fun and giggles." According to George Washington University professor Laurie Kaplan, while Wright's focus on Elizabeth is consistent with the novel, the screenplay removed her line of self-recognition: "Till this moment, I never knew myself". Kaplan characterises the sentence as Elizabeth's "most important", and believes its deletion "violates not only the spirit and the essence of Austen's story but the viewer's expectations as well." Release Marketing After a string of Jane Austen semi-adaptions in the late 1990s and early 2000s, Pride & Prejudice was positioned to take audiences "back into the world of period drama and what many saw as a more authentic version of Austen." While the novel was known to audiences, the large number of related productions required the film to distinguish itself. It was marketed to attract mainstream, young viewers, with one observer referring to it as "the ultimate chick-flick romance" and "more commercial than previous big-screen Austen adaptations." Another wrote that it brings "millennial girlhood to the megaplex ... If Ehle's Lizzie is every forty-, or fifty-something's favorite independent, even 'mature,' Austen heroine, Knightley is every twenty-something's sexpot good girl." An ampersand replaced the word "and" in the film title, similar to the 1996 postmodern film Romeo + Juliet. Already a star at the time of release, Knightley's appearance in the film was emphasised by featuring her in all promotional materials (similar to Colin Firth's prominent appearance in the 1995 adaptation). Several commentators likened the main poster of Pride & Prejudice to that of 1995's Sense and Sensibility, which was seen as an attempt to attract the same demographic. Advertising noted that the film came "from the producers of Bridget Jones's Diary", a 2001 romantic comedy film, before mentioning Austen. Leading up to the release, fans were allowed to download pictures and