"Becoming Jane" is a lush account of the great untold romance that inspired young Jane Austen to write her novels. Why untold until now? Because it probably didn't happen. But "probably didn't" means "possibly did," which is all you need -- well, at least enough of what you need -- for the working premise of a very elegant and enjoyable film.

Darkly beautiful Anne Hathaway has the title role of a brilliant, high-spirited girl who, at the story's outset, is already at the midpoint of her short life (1775-1817). Marriage should be on her mind, but to her mother's chagrin, it isn't.

"If I marry, I want it to be out of affection," she declares.

	Anne Hathaway as Jane Austen. Click photo for larger image. 'Becoming Jane' Starring: Anne Hathaway, James McAvoy, Julie Walters, Maggie Smith. Director: Julian Jarrold. Rating: PG for brief partial nudity and mild language. Web site: http://becomingjane-themovie.com/ Family Film Guide Related story: Hollywood can't get enough of Jane Austen

"Affection is desirable," says her mother (Julie Walters). "Money is indispensable."

It is 1795. The Austens belong to the lower-end gentry of rural Hampshire in southern England, where her father is a village pastor. The Rev. Austen (James Cromwell) is tolerant of Jane's incessant passion for writing. As a hobby for a country vicar's daughter, it is considered unusual. As a way for her to earn a living, it is unthinkable!

Jane has no shortage of marriage proposals but rejects all. She is particularly disinclined toward Mr. Wisley (Laurence Fox), the tongue-tied nephew of wealthy Lady Gresham (Maggie Smith). And she clashes right away with a young Irish visitor named Tom Lefroy.

Lefroy (James McAvoy), a charming rogue, is a bright-but-broke law student who is keener on wine, women and bare-knuckle boxing than on his legal studies. With his big-city airs and duds, he mocks Jane's provincial life, not to mention her prose. She, in turn, finds him arrogant, impudent and disagreeable -- but increasingly fascinating.

If she wishes to be the equal of a male author, her horizons must be widened, says Tom, as suggestively as possible, further flummoxing her by recommending she read Fielding's bawdy "Tom Jones."

When they inevitably fall in love, Lefroy's irate uncle-employer in London (Ian Richardson) threatens to disinherit him. Should they run away and marry, or should she stay in Hampshire and "become" Jane Austen?

James McAvoy as Tom Lefroy. Click photo for larger image.

Well, it's not really a mystery, after all. It's a quasi-biographical romance and finely tooled period piece, fashioned by writers Kevin Hood and Sarah Williams from selected themes and characters in Austen's six novels, most notably "Pride and Prejudice" (in which the Darcy character is based on Lefroy).

But precious few facts exist about the real Austen-Lefroy relationship: tragic love lost or fleeting flirtation? We know for sure only that they broke the "two-dance rule" of the day -- dancing three times with each other at a ball, which meant you were either engaged or scandalous.

Speaking of which, the two choreographic events in "Becoming" -- a provincial dance and formal ball -- are the film's visual and emotional highlights. Cinematographer Eigil Bryld gives us astonishingly lovely images of coaches arriving at dusk, with Lady Gresham's stately mansion lit by a line of torches reflected in a pool. Once inside, the music and sexual chemistry come alive as Jane and Tom link, then unlink arms, the lightness of his indigo eyes a perfect complement to the smoldering darkness of hers.

Beautiful Yankee Anne Hathaway ("The Princess Diaries," "Brokeback Mountain," "The Devil Wears Prada") produced a negative stir in the United Kingdom when cast in her quintessentially British role. The real Jane, judging by Cassandra Austen's 1810 portrait of her thin-lipped sister, was not ravishing. But Hathaway's accent sounds near flawless to me, and she turns in a very convincing, calibrated performance -- exuberant and alluring but subdued and introspective when necessary, reminiscent in some ways of Audrey Hepburn.

McAvoy (Idi Amin's doctor in "The Last King of Scotland") is excellent, with the most terrific smile -- whether talking, dancing or boxing -- that makes even his arrogance charming. Smith as dragon-Lady Gresham, of course, steals every scene she's in, especially one in which Jane rushes off to scribble something.

"What is she doing?" asks the lady.

"Writing," her nephew replies.

"Can anything be done about it?" she asks.

Walters ("Billy Elliot") turns in no silly caricature but a truly distraught portrayal of Jane's mother, while Cromwell (Prince Philip in "The Queen") is eminently empathetic. Ian Richardson in -- sadly -- his final film role is fearsomely good as the Hangin' Judge Langlois, Tom's disapproving uncle.

Director Jarrold ("Kinky Boots") and photographer Bryld make superb use of rural Ireland (for Hampshire) and Dublin (for London), yearningly evocative without picture-postcard prettiness. Costume designer Eimear Ni Mhaoldomhnaigh (gotta love those Irish surnames) captures the rural Regency period just right: Bodices and breeches are disheveled if not downright dirty, the way they surely looked in life. People and things are all in shades of muted rose, earthy brown, pale faded green ... Walls look splotchy ... Mirrors are heavily speckled ... Couch pillows have stains ...

Above all, and underneath all, is Adrian Johnston's exquisite classical-romantic score, a virtual Goldmark "Rustic Symphony" for film.

"Becoming Jane" takes more license than "Shakespeare in Love" with even less basis in fact. It's a more soap-operatic (almost Harlequin) romance, with predictably bittersweet ending and epilogue. But it's the best period chick flick I've ever seen.