The works of Jane Austin are no strangers to film or TV adaptations. Tales such as Pride and Prejudice have been remade so many times, it can be easy to lose count and whilst they all differ there is a certain charm that every Austin adaption has. Sense and Sensibility whilst being Austin's debut novel is perhaps not the first on everyone's mind when you mention Austin, yet it's still had its fair share of adaptions, with three TV versions and now three films. With director Georgia Oakley's version currently showing in cinemas. With Working Titles Tim Bevan and Eric Fellner producing I had high hopes, after all they are the producing Duo behind the best Austin adaptation, Pride and Prejudice directed by Joe Wright and starring Keira Knightly which released in 2005. So read on for my full review, there will be some minor spoilers ahead.
After the death of their father the Dashwood Sisters and their mother (Caitríona Balfe) are left at the mercy of their father's son from his first marriage John Dashwood (Tom Brooke) and his harsh wife Fanny (Stacy Martin). The three sisters, Elinor (Daisy Edgar-Jones), Marianne (Esmé Creed-Miles) and Margaret (Bodhi Rae Breathnach) and their mother are rescued from the less than generous hospitality by Mrs. Jennings (Fiona Shaw) a distant cousin with a loud personality but an earnest heart. Yet the only true way to save themselves is through adventitious marriages. Elinor has her eye set on Fanny's brother Edward Ferrars (George MacKay), yet it's complicated, full of yearning and anguish. Exactly what audiences will be looking for. Marianne, a force of wildness and passion, experiences such romantic highs and lows as she looks for her match. Her experience somewhat reflective of modern dating, expecting they did not have the term 'ghosting' then. It's a time old narrative, of love, family and sisterhood, themes that run solidly though Austin's work, themes that translate so well to screen, the charm that connects all versions of her work. Yet there are times when Sense and Sensibility feels to long, to drawn out, despite the jumps in time and the woven storylines it does at times fail to fully capture audiences' attentions. Falling into a lull between set pieces.
There are key components when it comes to a period drama, most essential is authenticity, no one wants to see a botox'ed iPhone face in a film set in the 1700s, nor do they want to see to modern costumes or pop songs woven into the score (I'm not talking about violin covers - these have their own charm). On top of this, with an adaptation there is the additional challenge of staying committed to the source material, so yes, your lead may be a stunning actress but if she is playing a poor villager, her dress at the ball should not be the most spectacular dress there. Sense and Sensibility does a fantastic job when it comes to authenticity, the actors and actresses all have moving faces, that can accurately convey the deep emotions they experience, where love, happiness and heart wrenching devastation look different. When Elinor and Marianne attend a ball, their dresses are specular but reflect their status, the fabric not quite as expensive as the dresses worn by their wealthier peers. Roger Goula delivers a score that perfectly complements the visual, never jarring the audience but always heightening the raw emotion. The perfect subtle score, that only makes itself known when vital, which is utterly charming. Yet it is the visuals created by cinematographer Arnaud Potier that firmly places Sense and Sensibility into the very top tier of period dramas. Beautifully crafted and all consuming, the visual style draws audiences, in immersing them into the world rather than keeping them at arm's length. The ability to play with light provided by flickering candles and small hearths in the evening scenes are beyond mesmerising and a testament to the films authentic promise. There are no colour grading or lighting issues here, Sense and Sensibility is a visual masterpiece.
Beyond the visuals we have a very talented cast. Daisy Edgar-Jones masters the art of a subtle performance, playing out the stereotypical period drama lead. A deep feeling, but emotionally reserved heroine that finds a way to put the needs of everyone above her own. A classic older daughter. The well-known quote about how their happiness could not depend entirely on another person, perfectly delivered in a way that will resonate with viewers. Esmé Creed-Miles does well in the role of Marianne, but airs on emotionally wrecked and at times bland rather than wonderfully unrestrained in her passion and tempestuous nature. In fact, all the characters fall slightly into the bland category at times, some scenes only saved because of Fiona Shaw. Mrs. Jennings, perhaps intended to be odious and overbearing, turns out to be so much more than her annoying laugh and over enthusiastic nature. Providing not only a few laughs, but also a compassionate and well-meaning aunt role that is undeniably kind-hearted and selfless. George MacKay, Frank Dillane and Herbert Nordrum as Edward Ferrars, John Willoughby and Colonel Brandon provide the film with some great male leads, full of yearning, angst and emotional repression and either noble or questionable intentions, the very standard Austin love interests. Nothing mould breaking but well performed.
Overall, Georgia Oakley's Sense and Sensibility is a romantic adaptation that will capture the emotional heart of viewers. Brilliantly crafted to create an authentic period drama that will delight genre fans and please Austin readers. At times it airs on bland but the visual spectacle makes this almost forgivable. A great cast, seamless score and flawless cinematography make Sense and Sensibility a must watch.
4 Stars
Thank you for reading.
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