What makes it different from others?

n my opinion it was a great movie with some interesting elements, even though having some plot holes and the ending probably was just too messy and crammed together, but still fun to watch and not your casual movie that is similar to all other ones.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

A clunky actioner with a handful of cool moments.

People who read the title, Jane Austen in Manhattan, are likely to come to this film expecting something other than what James Ivory and his frequent collaborators present us. It's not the sparkling comedy of manners, of love and money, that Ivory gave us in A Room with a View. It's more of a drama, and it's not about Jane Austen really at all. But it's not a lost cause, thanks to some fine performances, especially from Anne Baxter, in her last starring role. Sean Young is luminous, with her big, intoxicating eyes. Robert Powell has a more difficult role of being hypnotic to some while being openly transparent to others.

Having acquired the rights to a play penned by Jane Austen during her childhood, an avant-garde theatre director attempts to do justice to Austen's words and "bring her up-to-date" while a former associate tries to convince his actors to perform the play more traditionally in this little seen Merchant-Ivory film. Robert Powell, fresh from 'Harlequin' (where he played an equally hypnotic character), is solid as the avant-garde director in question who believes that "we all live in clichés" and that his fey vision is faithful. Anne Baxter in her last big screen performance is also well cast as his former associate. It is not, however, always interesting to watch them argue source material fidelity and with much talk and limited atmosphere and action, 'Jane Austen in Manhattan' has found a reputation as Merchant-Ivory's nadir. Such an assessment may be a little harsh, however, this is very much one of those films where the story behind it is more fascinating than the movie itself. Apparently James Ivory acquired the film rights to Austen's play without having even read it. Upon reading the play and finding it insubstantial for motion picture (Austen was, of course, very young when she wrote it), Ivory almost passed it up until Ruth Prawer Jhabvala suggested making a film about those who wish to and attempt to perform the play - not unlike 'Adaptation.', to which the film sometimes has been compared. This in turn renders 'Jane Austen in Manhattan' one of Merchant-Ivory's most intricate efforts, and if a failure, it is certainly an ambitious one.

I am usually offended, retroactively offended by Ivory - Jhabvala films. They have a quiet, deep consistency that draws respect the same way a cathedral does. But the uncomplicated emotional links and the sentimental world in which they exist gets to me, and taints dreams for days afterward.Good news. Here is that same hushed god of relationships and presentation, but it is turned on the process of film-making itself. This isn't the complex, multiply nested structure of "Vanya on 42nd Street," but it is similar.In the film, the main arc is two "films" competing with each other to exist. One is the sort of slick, attractive think that is now synonymous with Merchant-Ivory. The other is something more intuitive, emotional, experimental. These two film realities become characters in themselves, resolving in just the same way we would later see the characters in "Remains."The "slick" one is pretty and connects with presentation values we can understand. It is backed by the establishment that finances "art," and thus wins in the contest. Along the way, the worst features of both are highlighted.The "gritty one" requires obedience to a cult, destruction of marriages, ruining of souls and penury. But it transcends and makes one whole. The nicety nice one is a matter of effete conspiracy and Brahman tastes. Needless to say, as we follow writer Jhabvala and her two collaborators, the nicety nice wins, as it does here. And at the same cost.The actors who provide surrogates for these two are lovers who have fallen out. When together, they confuse performance with life. There is a third way, shown by the lost husband of Sean Young's character. His acting has no pretension to art; it is neither ambitious nor pretty, simply entertaining.The device around which this revolves — the script for the competing plays — is a lost manuscript by Jane Austen. As if everything I have mentioned so far is not a sufficient fold of life on the film, this film comes from the acquisition of that same manuscript. You will recall that Austen could be said to have shaped the modern long form novel, based on her own fold: the parallel stories of people who are seriously motivated by the urges of the time overlain with observations on how arbitrary and silly those are. While Merchant, Ivory and Jhabvala are smart enough to know the costs of what they do, they decide anyway. Silly works.Ted's Evaluation -- 3 of 3: Worth watching.

It seems that a manuscript of Jane Austen's play "Sir Charles Grandison" was in fact discovered fairly recently. I have not read it, but I cannot believe that Ivory-Merchant-Jhabvala could really have understood it. Austen's young writings are brilliantly comic, but if there is anything funny in `Jane Austen in Manhattan' I missed it.The film could have been a good satirical comedy. Maybe parts of it are funny to the Manhattan in crowd of the off-off-Broadway theatre, but you will have to know the participants in that activity a lot better than I do to enjoy this movie.The central figure seems to be that played by Sean Young. James Ivory does not bring out any aspect of competence or charm this young woman may have, thus making the contest for her participation in the two competing efforts to produce a play pointless.