Sense and Sensibility – Film Review
by Fran Winston

Directed by: Georgia Oakley
Starring:  Daisy Edgar-Jones, Esmé Creed-Miles, Caitríona Balfe, Frank Dillane, Herbert Nordrum, George MacKay, and Fiona Shaw.

In cinemas September 25

The last English-speaking big-screen adaptation of Jane Austen’s beloved 1811 novel Sense and Sensibility, in 1995, received seven Oscar nominations and won one for Emma Thompson’s screenplay. So it is surely a nerve-wracking prospect to revisit the tale, even with three decades in the rear-view mirror.

Directed by Georgia Oakley from a screenplay by Diana Reid, this latest version of the period romantic drama sees Daisy Edgar-Jones and Esmé Creed-Miles replace Emma Thompson and Kate Winslet from Ang Lee’s version as the iconic Dashwood sisters, Elinor and Marianne respectively.
For those not familiar with the book, the title represents the sisters’ contrasting personalities and attitudes towards love.

When their father dies, their mother (played by Outlander star Catriona Balfe) is left with little money after her stepson inherits his father’s property and wealth, while his socially ambitious wife insists he evict his extended family.

This forces them to move from their lavish Sussex home to a modest country cottage in Devon. In the midst of this upheaval, the two sisters fall under the spell of very different men and are faced with navigating love and heartbreak while also dealing with their new circumstances.

Their move to Devon may be a blow to the family, but the change of setting allows Oakley to indulge in some stunning cinematography of the sweeping landscapes and beaches. It is a million miles from the “chocolate box” look usually employed in such adaptations. Indeed, the Devon tourist board will possibly be using this in its advertising, as Oakley has fully utilised the rugged, windswept moors and historic market towns and villages including Princetown, Tavistock, Ashburton, South Brent and Widecombe-in-the-Moor. Some shots reminded me more of the brash and aggressive Wuthering Heights than Austen’s more genteel works.

Breathtaking scenery aside, the efforts to modernise this while maintaining the period setting don’t always work.

Coming in at more than two hours, it doesn’t quite live up to its early promise as it ultimately can’t decide whether it wants to stick to the conventions of a standard period drama or give viewers something edgier.

That edginess includes the gender-challenging casting of Eliot Sumner as Mr Palmer – something that will no doubt divide opinion. Edgar-Jones and Creed-Miles play well together and do bring a more modern take to Austen’s heroines. However, Balfe is wasted as their mother.

Indeed, the standout performance comes from the delightful Fiona Shaw as the mischievous, gossipy and forthright Mrs Jennings. She takes that role and runs with it.

I doubt this will repeat the awards success of the earlier version, and some Austen fans may baulk at the feistier portrayal of Elinor and some of the storytelling choices made by Oakley.

Much like Elinor, its intentions are always good, but it often gets it wrong and ends up bland rather than marvellous. That’s not to say it isn’t watchable. It is; it’s just not compelling. Which is a shame, as Austen’s heroines are written to leap off the page or screen, not fade into the background.