Director Georgia Oakley tackles the incredibly difficult task of breathing new life into one of Austen’s most beloved and reworked stories, ‘Sense & Sensibility’. This adaptation follows in the rather large footsteps of the 1995 adaptation directed by Ang Lee, which starred Emma Thompson, for which she won both the Oscar for Best Adapted Screenplay and Best Actress. Despite this large shadow, the film stands firmly on its own two feet and offers a new perspective on Austen’s tale. The film centres on the Dashwood family, who are forced to leave their family home after Mrs. Dashwood and her three daughters are effectively ousted by her stepson following the death of the Dashwood patriarch. This ousting does not occur before the eldest, Dashwood played dutifully by Daisy Edgar Jones, Elinor, falls in love with a Mr. Edward Ferrars played by George McKay. The relationship between these two characters is one of stolen glances, half-fledged confessions and flirtatious banter. The chemistry between the two romantic interests draws the audience in and demands their attention and support.
Once the Dashwoods have relocated to Devon, they agonise over the lack of correspondence from Edward and wallow in their fall from grace. Whilst in their new home Marianne (Esmé Creed-Miles) twists her ankle while out roaming the coast and meets a handsome gentleman named Willoughby played by Frank Dillane who exudes a charm that feels all too promising and embarks on a passionate, albeit socially unconventional, flirtation. Creed-Miles portrays the middle Dashwood with just the right amount of naivety and self-centredness such that the audience sympathises with her whilst also being bewildered by her natural lust for life. This is all watched by a brooding Connel Brandon played by Norwegian actor Herbet Nordstrom, in his first English-speaking role. Despite Marianne’s lack of initial interest, he remains bewitched by her joy and ‘muchness’ and as such is loyal to her throughout the film.
The film succeeds in its portrayal of sisterly love, which runs parallel to that of the Dashwoods’ romantic endeavours. The chemistry between Daisy Edgar Jones and Esmé Creed-Miles lends itself brilliantly to the exploration of both ‘sense’ and ‘sensibility’ and allows sisterhood to be explored in its all gory highs and lows.
In a time where Hollywood is facing critiques for looking backwards and regurgitating classic stories, this film proves an expectation, as the new take on the story, coupled with dazzling cinematography, completely immerses the audience into the English countryside, and adds another dimension to the romance of the film.
The film oozes both sense and sensibility and I have no doubt it will become a firm favourite for the new generation of Austen lovers.
5/5 Stars
