Pride and Prejudice won an Academy Award for Best Art Direction, Black-and-White for Cedric Gibbons and Paul Groesse. The latter is likely more responsible for the film's look, but thanks to a clause in his contract with Metro, art department head Gibbons was credited on every picture, even though the art direction was usually handled by subordinates.

"The whole thing has been accomplished through a steady flow of superlative wit-most of it out of the novel and some of it supplied by Aldous Huxley and Jane Murfin-which puts a snapper on almost every scene; and also through a consistently artful inventiveness of detail and a keen appreciation of the subtleties of Miss Austen's characters. It isn't often that a cast of such uniform perfection is assembled. ... Pictures played in costume often have an artificial air. But for pure charm and romantic diversion, for bubbling and wholesome life, we most heartily recommend this exquisite comedy about the elegant young gentleman who was proud and the beautiful young lady who was prejudiced. Both are as real as any two young people you know today."
– Bosley Crowther, New York Times, August 9, 1940.

"Some of the most literate dialogue ever spoken on a soundtrack. ... From the moment when [Olivier] as Mr. Darcy walks into a ballroom in provincial Meryton with a memorable sneer, the picture is in."
– Time, July 29, 1940.

"Animated and bouncing, the movie is more Dickens than Austen; once one adjusts to this, it's a happy and carefree viewing experience."
– Pauline Kael, 5001 Nights at the Movies (Henry Holt and Co., 1984).

"May well make Austenites quiver at its infidelities and occasional insensitivities (not to mention the perhaps inevitable blurring of the subtler social ironies), but [it] is surprisingly dry and droll. Aldous Huxley's contribution to the script undoubtedly helped, but it is the cast which carries it: marvellous performances all round, with Garson's cool prejudice perfectly matched against Olivier's chill pride."
– Tom Milne, Time Out Film Guide (Penguin Books, 2000).

"As a film it possesses little of general interest, except as a co-starring vehicle for Greer Garson and Laurence Olivier. Any novel which survives more than a century possesses unusual qualities, and Pride and Prejudice qualifies chiefly because of the characterization of Elizabeth Bennet...In the screenplay she is trimmed to fit into a yarn about a family, rather than about an unusual and courageous girl. In consequence, the film is something less than satisfactory entertainment, despite lavish settings, costumes, and an acting ensemble of unique talent."
- Variety Movie Guide.

"Typically overstuffed MGM prestige product, but one that came out surprisingly well, with a minimum of Eng. Lit. posturing and some elegance of design." – Dave Kehr, Chicago Reader.

"You may perhaps know that this city has suffered badly from air raids but we still have some cinemas left, and to see a packed audience enjoying Pride and Prejudice so much was most heartening. I do thank you very much as well as all the actors and actresses for your share in what has given so much pleasure to us."
– London resident Betty Howard in a letter to director Robert Z. Leonard, February 10, 1941.

Compiled by Rob Nixon