Sense and Sensibility (PG) – 132 minutes
It still astounds me how mature a work Jane Austen wrote when she was such a young woman.
Her first draft of Sense and Sensibility, in letter writing format, was completed when she was 19 and then the continuous narrative at age 21.
Authorship of the book, first published in October 1811, was not credited to Austen.
Rather the title page indicated it had been written “by a lady”.
In 19th century England, pursuing paid work was a questionable endeavour for a respectable, upper-class woman.
Further, the act of reading novels was viewed askance by moralists who felt it was an anti-social pastime.
By July 1813, publisher Thomas Egerton had sold all 750 first edition copies, leading to a second printing. It has never been out of print since.
Its major focus was the trials and tribulations of two sisters, Elinor and Marianne Dashwood.
After their father’s death, they, their mother and their younger sister Margaret were left in desperate straits due to a lack of funds.
The family estate, Norland Park, passed to the closest male relative, that being Mr Dashwood’s son from a previous marriage, John.
Help came in the form of a relative, but the four had to relocate to comparatively modest digs some distance away.
That was especially difficult for the eldest daughter, smart, emotionally intelligent Elinor.
She had developed strong feelings for handsome, stoic Edwards Farrars, John’s brother-in-law.
In their new home, the boisterous Marianne met but was turned off by taciturn Colonel Brandon, who has just returned from military service in the East Indies.
Instead, she fell head over heels for dashing bachelor John Willoughby, after he “rescued” her.
With societal expectations to navigate and turns of fate, the path of true love for both young women was far from straightforward.
This adaptation of the novel is simply delightful. It is wonderful, warm and bewitching – a sure-fire hit.
The script is endearing, the performances impeccable, the settings evocative and the direction sublime.
Daisy Edgar-Jones embraces all that is so impressive about Elinor. She is ever so responsible and resolute.
She is utterly convincing in adapting her remarks and body language to the strictures of the time the action is set, being the late 18th century.
As Marianne, Esme Creed-Miles is the yin to Elinor’s yang – bold and impetuous, never afraid to wear her heart on her sleeve. She brings an adventurous spirit to bear.
I was also impressed by the “out of babes” utterances and the occasional fits of pique of Bodhi Rae Breathnach as Magaret, who was learning the ways of the world.
She brought a lovely lightness of touch to her characterisation.
George MacKay shows grace, moral countenance and shyness in matters of the heart as he navigates Edward’s invidious predicament with distinction.
Herbert Nordrum is the picture of extreme restraint, who plays deeply inside his head as the Colonel.
In contrast, Frank Dillane takes a cavalier approach to cad Willoughby.
Fiona Shaw is a hoot as the larger-than-life Mrs Jennings, who is responsible for relocating the family and determined to marry off Elinor and Marianne.
There is so much to savour in the way the story is told, while you are sitting in the cinema willing everything to work out.
Writer Diana Reid has well captured the essense of the novel, while director Georgia Oakley gives sting to the “episodes” depicted.
The emotional wave ridden is perfection, as frustration and drama are mixed with humour.
Undoubtedly enhanced by an evocative score from Roger Goula and striking cinematography from Arnaud Potier, Sense and Sensibility is a real crowd pleaser.
Rated PG, it scores an 8½ out of 10.
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