WHAT ARE MY THOUGHTS ON SENSE AND SENSIBILITY?
One of many reasons why the works of Jane Austen have endured for more than two centuries is because, despite their Regency era setting, they are effectively timeless. Her stories, characters and dialogue carry remarkably universal themes and critiques surrounding patriarchal society, economic sustainability and personal worth, all of which are not only just as true as they were when they were first written but are arguably more essential now than ever before. These notions are carried over into the numerous film and TV adaptations of Austen’s work, many of which have similarly been preserved over time for their faithfulness to the material as well as their own little additions to distinguish themselves from one another.
Take, for instance, the cinematic takes on Austen’s first novel Sense and Sensibility. It’s barely been three decades since director Ang Lee’s acclaimed version – which saw lead actor Emma Thompson win an Oscar for her screenplay – and now it’s fallen into the hands of director Georgia Oakley and screenwriter Diana Reid for only the second major film adaptation of the book. Both, however, are so distinct and refined in how they approach the material that they can easily exist side by side without cancelling each other out, and in the case of Oakley’s version it is such an infectiously joyous, emotionally investing and stunningly made film that makes you feel as though you’re hearing this classic story for the very first time all over again.
Said story, as ever, takes place in 18th century England where the Dashwoods – made up of sisters Elinor (Daisy Edgar-Jones), Marianne (Esmé Creed-Miles) and Margaret (Bodhi Rae Breathnach), along with their recently widowed mother (Caitríona Balfe) – are forced to vacate their Sussex manor after being left with little inheritance, and move into a quaint Devonshire farmhouse. Our focus is primarily on the elder sisters as they experience the highs and lows of their respective romantic encounters, with Elinor growing a keen attraction to Edward Ferrars (George MacKay), the brother of their cold-hearted half-sister-in-law Fanny (Stacy Martin), while the freer-spirited Marianne gains the attention of not only the dashing young John Willoughby (Frank Dillane) but also the older, respectable Colonel Brandon (Herbert Nordrum).
Whether you’re going into this take on Sense and Sensibility knowing the story well or not at all, you will be instantly drawn into how both Oakley and Reid are telling this story. The director adopts a smooth, absorbing pace that allows for certain relationships to be as fleshed out as they need to be, to where you can perfectly understand the sisters’ initial connection with their love interests and why they are worth pursuing in spite of the various obstacles in their way. Reid’s screenplay neatly balances the tender melodrama with playful wit that comes naturally through the sharp dialogue and how particular characters act in particular scenarios, maintaining the aesthetic innocence of Austen’s prose as well as the author’s sharp commentary on the unjust gender and social expectations of her time. Special credit also goes to cinematographer Arnaud Potier, who shoots on 35mm film (you can see little marks and lines on the screen at all times, as though it were being shown on an old projector) to create a striking set of images that accentuate the crisp, illustrious landscapes of the English countryside, while lighting certain interior scenes to look almost like living oil paintings from that era.
In terms of casting, every single actor in this ensemble more than suits their roles, with not a weak performance among them. Daisy Edgar-Jones is exceptional in this, embodying Elinor’s grace and quiet resilience as her yearning for Edward (with MacKay giving Hugh Grant a run for his money in terms of effortless charm in the part), and there are fun supporting turns from Fiona Shaw as the eternally jovial Mrs. Jennings, something of a guardian angel to the Dashwoods. However, nothing can prepare you for the powerhouse that is Esmé Creed-Miles in this movie, with the young actor facing a monumental task of embodying a character previously played by Kate Winslet in the Ang Lee film and making it entirely her own, her Marianne being full of all the vigour, charisma and fanciful passion that has always made her such a compelling character but also the painful heartbreak which the actor is excellent at conveying. Mark my words, she is going to be a huge name after this film, kind of like how Florence Pugh originally broke out in Lady Macbeth back in 2016; Creed-Miles in this movie is giving those exact vibes, and then some.
The story and its themes, characters and optimistic tone remain as lively as they were back when Austen herself was around, while the execution by the filmmakers and performers is so engrossing that the over two-hour runtime goes by incredibly fast. It’s hard to think of any misgivings whatsoever, if indeed there are any, since it is such a constant and genuine delight, one that will lift you up, drop you down and then lift you back up again as Oakley, Reid and their cast breathe new life into a piece of literature that has once again proven itself to be immensely timeless. And with any luck, this version of Sense and Sensibility will inspire a whole new generation to yearn for life to be as frivolous and sophisticated as Austen originally wrote about.
