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The story is about a love triangle, between the lead characters, and the film also exhibits the Punjabi culture of Pakistan. It stars Humayun Saeed, Mehwish Hayat and Urwa Hocane in lead roles. Instead, she’s our heroine – and what wicked good fun it is watching this bad girl do her worst.Punjab Nahi Jaungi (Urdu: پنجاب نہِیں جاؤں گی‬‎) is a 2017 Pakistani romantic comedy film, written by Khalil-ur-Rehman Qamar and directed by Nadeem Beyg. In a different film, or an alternate Austen novel (Lady Susan’s closest analogue is Mansfield Park’s Mary Crawford), she’d be the villain.

Boy-o, is she back and, as this proto-Mean Girl in Regency skirts, never better. Her schemes are twofold: to bully her sweet, meek daughter Frederica (Clark) into a loveless but lucrative marriage with an affable nitwit, Sir James Martin (Bennett, ace comic relief), and to secure a comfortable future of her own in a match with the honorable Reginald DeCourcy (Samuel), who buys Lady Susan’s retiring-widow routine hook, line, and sinker.īeckinsale began her career in arthouse fare – all virginal blushing in Much Ado About Nothing, deliciously bitchy in The Last Days of Disco – but she’s wasted a lot of time since in genre trash like the Underworld series. Sure, she’s lately been dealt a losing hand – recently widowed, she’s dependent on the generosity of others – but Lady Susan plays hard, she plays dirty, and she plays to win. America likes nothing more than a winner, and Lady Susan Vernon (Beckinsale) is just that.

Hasn’t Whit Stillman been adapting Jane Austen all along?Īnd yet, there’s a hearty New World sensibility to Love & Friendship, too. That he would be at home with a comedy of manners and class maneuverings, again, seems as obvious as a tea kettle to the head. His newest film, an adaptation of an early Jane Austen novel (unpublished until after her death), is as British as afternoon tea. When Stillman expatriated to Europe for a spell, it seemed so obvious a move for a filmmaker so continental, so Old World. Indie film only cared about class in relation to class warfare, and Stillman’s deb balls and Hampshire College grads were odd bedfellows with the era’s ascending slackers, clerks, and small-time crooks. Back in the American independent film movement of the Nineties, Whit Stillman’s bemused comedies about the affluent, or affluent-adjacent – Metropolitan, Last Days of Disco, and Barcelona – were exotic outliers.