Sense and Sensibility
Esme Creed-Miles and Daisy Edgar-Jones star in SENSE AND SENSIBILITY. (Photo: Focus Features)
It’s not necessarily an improvement on previous cinematic retellings of the Jane Austen classic, although Sense and Sensibility is a worthy interpretation on its own.
This handsomely mounted British period piece from director Georgia Oakley (Blue Jean) is a faithful adaptation of the venerable romantic comedy, demonstrating an obvious affinity for the source material with lavish sets and costumes.
The updates around the edges are subtle yet effective, through charming performances and feisty attitudes that suggest a more contemporary feminist take on Austen’s romantic roundelay and low-stakes comedy of manners.
The late 18th century story opens with the death of the patriarch in the aristocratic Dashwood family, which forces his financially strained widow (Caitriona Balfe) to relocate from the family estate to a much smaller rural cottage.
From there, the focus is primarily on Elinor (Daisy Edgar-Jones) and Marianne (Esme Creed-Miles), the two eldest of the three Dashwood sisters. Elinor begins courting the debonair Edward (George MacKay) only to later find out that’s his long-term prospects lie elsewhere. Meanwhile, Marianne falls for charismatic Willoughby (Stephen Dillane), only to be disappointed, too.
Later, as Elinor charts her path toward independence, Marianne falls ill and only then realizes that the kind-hearted Col. Brandon (Herbert Nordrum) might be her match.
Smart but smitten, Elinor and Marianne both searching for an empowered sense of fulfillment while also discovering their voices, both individually and collectively. Their preferred partnerships are jeopardized by secrets, lies, misunderstandings, and petty jealousies. But at least they have each other.
The film captures a sort of throwback escapism free from cynicism and disrepute. Of course, it’s hardly scandalous by today’s standards. The scenic visuals are as enchanting as Austen’s witty dialogue, which finds the eccentric periphery characters generating many of the biggest laughs.
Channeling the range of muted emotions and repressed desires, the most important communication is often not through words but facial expressions, body language, and purposeful glances.
Rookie screenwriter Diana Reid retains the book’s narrative texture in balancing breezy playfulness with an underlying melancholy in exploring gender roles, social status, and socioeconomic class.
Even if they won’t be surprised by any of it, Austen devotees should be delighted by a Sense and Sensibility that lives up to both halves of its title.
Rated PG, 131 minutes.