Adapting Jane Austen’s novels for the screen has proven difficult over the years, given the density of the language and its sharp, witty dialogue as characters speak in innuendo rather than risk expressing their feelings in a world that frowns upon rank sentimentality.
As challenging as it is to parse the text for authentic emotion, most adaptations have found it easier to smooth out the tonal complexity and fully embrace schmaltz, cutting away the irony and acerbic wit. In “Sense and Sensibility,” director Georgia Oakley falls into the same trap. The humor is still present in the dialogue, but it works at cross purpose with the dim, drab cinematography and weepy musical score to deliver a staid romance rather than Jane Austen’s unique mixture of swoon and cynicism.
“Sense and Sensibility” is the story of two sisters: Elinore and Marianne Dashwood (Daisy Edgar-Jones and Esmé Creed-Miles, respectively). There’s a third sister, Margaret (Bodhi Rae Breathnach), but she mostly just loafs around eating blueberries. Elinore is a classic older sister, a realist who keeps her emotions reserved, understanding that the world is a complicated place filled with complicated people. Marianne sees Elinore’s lack of expression as a lack of feeling, as she expresses her own opinions and emotions without restraint. After a scolding from her older sister, Marianne states proudly that if she is to fall, she would prefer to fall from a great height. This statement captures the emotional intensity of the young Marianne and a kind of foolishness that exposes her to harm.
After the death of the family patriarch, the Dashwood women are forced from their home. They move into a modest cottage at the invitation of a distant relative where they seek matrimonial pairings for the eligible daughters in the hope of securing financial freedom and romantic satisfaction.
Oakley and cinematographer Arnaud Potier deliver some evocative imagery with thoughtful framing, but it is often undermined by flat lighting and muted, unsaturated colors. Each interior is so darkly lit, I felt the need to squint to understand who is doing what and where. Roger Goula’s musical score goes full throttle on the romance, working with the imagery to create a mawkish period romance without any of the texture obvious in Austen’s novels.
With such dialogue-rich writing, any Austen adaptation’s success will rely heavily on the strength of its performances, and for the most part the leads here contribute to rendering the Dashwoods a believable and empathetic family. Edgar-Jones brings needed big-sister energy to Elinore, and George MacKay acquits himself well as the romantic lead, Edward Ferrars.
Creed-Miles has the tougher assignment. Marianne is a character unabashed about expressing her big emotions, and the actor takes bigger swings with her performance, with mixed results.
The margins are filled with memorable performers who bring color to the proceedings, with special mention needed for Fiona Shaw as the well-meaning but overbearing Mrs. Jennings and Tom Brooke as the simple and awkward John Dashwood. Both performances bring out the material’s humor, in contrast with the otherwise dour proceedings.
“Sense and Sensibility” is a competent period piece, filled with dedicated performers playing the emotional truth of these complicated characters. While the film may lack the unique power of its source novel, or even of earlier film adaptations, it nonetheless offers period pleasure for those looking for rapture – just without any of the nuance.
“Sense and Sensibility” Directed by Georgia Oakley. Written by Diana Reid. Starring Daisy Edgar-Jones, Esmé Creed-Miles, Caitríona Balfe, Frank Dillane, Herbert Nordrum, George MacKay and Fiona Shaw. Running time: 132 minutes. Genres: Drama, Romance. Rated PG for some thematic elements, partial nudity and brief violence.
