Sense and Sensibility
In the world of Jane Austen, marrying for money holds far more importance than marrying for love. Being single is an unthinkable folly. Arranged relationships are the norm, with the intention of finding a good match for the family. Respectability is what matters; personal feelings can be dealt with later.
The latest adaptation of her 1811 debut novel Sense and Sensibility proves her continuing relatability (between tv/film, this is the ninth time it has been adapted). Despite this being a period piece, with everyone speaking properly and trying their hardest to behave respectably, it comes off as surprisingly modern.
The strongest theme here isn’t societal pressure, position or how badly the female protagonists need a husband for their lives to have purpose. It is sisterhood. The most meaningful bond in the movie is the love shared between sisters Elinore and Marianne Dashwood. That sets this version apart, giving their choices more weight, aside from the suitability, and availability, of the men themselves.
It isn’t a classic, nor is it entirely faithful to its source material. However, it is very likable, with entertaining performances and sympathetic heroines. This is the first screenplay by Diana Reid and only the second feature from director Georgia Oakley. It gets a little wobbly in the middle section, as though they were not sure how to get all the pieces in place for the drama of the final act. Still, family is the key here and they keep that thread consistent throughout. Oakley and Reid put their own spin on a well-worn story and succeed at exactly what they intended to do. Even with the changes, or maybe because of them, it is good, pleasant, familiar entertainment.
Following the death of the family patriarch, Mrs. Dashwood and her three daughters have no home to call their own and are dependent on the kindness of relatives. Marriage is the only solution. While oldest Elinor falls for her half-brother’s brother-in-law, Edward, Marianne is wooed by the dull Colonel, but swoons for the carefree Willoughby. Will the Dashwood sisters find happiness? Or at least comfort?
This new Sense and Sensibility (126 minutes, minus the end credits) establishes the familial situation right at the outset. Mr. Dashwood has died, and his son, from a different woman, now controls the home. While he is not eager to displace his half-sisters and their mother, his wife is ready to kick them out on the street. The power imbalance between men and women, and between married women and single women, is handled with honesty and humor. Oakley doesn’t sugarcoat things, yet this is ultimately a story of hope and perseverance in the face of a difficult predicament. In this case, it is the love and support that Elinor and Marianne give each other that motivates them to push forward.
Elinor is played by Daisy Edgar-Jones as an intelligent woman who understands her position. She is drawn to Edward because he is kind and caring. However, she refuses to overstep which prevents either of them from saying what needs to be said about their feelings. Conversely, Esmé Creed-Miles’ Marianne is a passionate free-spirit. To her, anything worth doing is worth feeling very strongly about. She is looking for a man who carries the same enthusiasm for life. The men are mostly non-factors in this, acting as plot devices to get the women from happy to sad to happy again.
This is really Edgar-Jones’ and Creed-Miles’ movie. They are both charming and sweet. Fiona Shaw, as their matchmaker, Mrs. Jennings, is clearly having a great time as a woman who is comfortable in every conversation, even if some people wish she’d stop talking. Those three bring the majority of the entertainment to an enjoyable adaptation that may not be essential, but is fun all the same.
3½ out of 5
Cast:
Daisy Edgar-Jones as Elinor Dashwood
Esmé Creed-Miles as Marianne Dashwood
George MacKay as Edward Ferrars
Bodhi Rae Breathnach as Margaret Dashwood
Catriona Balfe as Mrs. Dashwood
Fiona Shaw as Mrs. Jennings
Herbert Nordrum as Colonel Brandon
Frank Dillane as Willoughby
Directed by Georgia Oakley
Screenplay by Diana Reid
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