The last English-language big-screen adaptation of Jane Austen’s beloved 1811 novel, 1995’s Sense and Sensibility, received seven Oscar nominations and won Best Adapted Screenplay for Emma Thompson. So revisiting the story three decades later is surely a nerve-wracking prospect.
Directed by Georgia Oakley from a script by Diana Reid, this latest version of the period romance sees Daisy Edgar-Jones and Esmé Creed-Miles take over from Thompson and Kate Winslet as the iconic Dashwood sisters, Elinor and Marianne. For anyone unfamiliar with Austen’s novel, the title reflects the contrasting personalities and attitudes towards love of the two sisters. When their father dies, their mother (Outlander star Catriona Balfe) is left with little money after her stepson inherits the family estate and his socially ambitious wife insists he evict his extended family. Forced to leave their lavish Sussex home for a modest cottage in Devon, the sisters soon find themselves falling for very different men while attempting to navigate love, heartbreak and their dramatically changed circumstances.
Their move to Devon may be a blow to the Dashwoods, but it gives Oakley the chance to indulge in some stunning cinematography. The sweeping landscapes and beaches are a million miles from the traditional “chocolate box” look usually associated with Austen adaptations.
Indeed, the Devon tourist board may well want to use this film in its advertising campaigns. Oakley makes full use of the county’s rugged, windswept moors and historic market towns and villages, including Princetown, Tavistock, Ashburton, South Brent and Widecombe-in-the-Moor.
At times, the scenery feels more reminiscent of the brash and brooding world of Wuthering Heights than Austen’s more genteel works. But breathtaking scenery aside, the film’s attempts to modernise Austen while retaining its period setting don’t always work.
At more than two hours, it fails to live up to its early promise, ultimately unable to decide whether it wants to stick to the conventions of a traditional period drama or give viewers something edgier. That edginess includes the gender-challenging casting of Eliot Sumner as Mr Palmer – something that will no doubt divide opinion.
Edgar-Jones and Creed-Miles work well together and bring a more modern energy to Austen’s heroines. Balfe, however, feels wasted as their mother. The standout performance comes from the delightful Fiona Shaw as the mischievous, gossipy and forthright Mrs Jennings. She takes the role and runs with it.
I doubt this Sense and Sensibility will repeat the awards success of the earlier adaptation, and some Austen fans may balk at the feistier portrayal of Elinor and some of Oakley’s storytelling choices.
Much like Elinor, its intentions are always good, but it often gets things wrong and ends up meh rather than marvellous.
That’s not to say it isn’t watchable. It is. It’s just not particularly compelling. And that is a shame, because Austen’s heroines are written to leap off the page – or screen – rather than fade into the background.
Sense and Sensibility is in cinemas now.
