Sense and Sensibility

Executed with tactile sincerity and incredible emotional acuity on all sides, “Sense and Sensibility” is a film you’ll want to snuggle up with, even when it hurts most—perhaps especially then.

This sense of emotional authenticity extends, or perhaps is more a direct result of, the beautiful, heartbreaking performances from the cast, who all understand the material without ever feeling chained by it.

This is a decidedly more grounded, introspective affair than Lee’s candy-coloured take on the material, and Oakley takes a more personal, intimate approach reminiscent of her previous feature.

This “Sense” makes daring and defensible choices and turns into a more-than-serviceable adaptation, as romantic as any of its big screen or TV serial predecessors, well-acted and more pointed in its depiction of the genteel poverty Austen herself endured.

Though slightly muted (in both feeling and color palette) by comparison, Oakley’s moody, naturalistic spin on the Austen touchstone is a solid undertaking.

Bolstered by strong performances, this handsome but derivative take is a little bloodless, with Austen’s sharp wit sanded down to fit a more romantic mould.

Why this remake was even greenlit is a mystery; it’s not like the 1995 version (which won Ms. Thompson an Oscar for her screenplay) is lost, or dated, or forgotten. All of the sparkle of that film has turned to ash in this superfluous and inert bore.

"Sense and Sensibility" can be hard to follow at times, following a large cast of nobles' relationships intertwining. It doesn't boast action scenes and fancy CGI, though it's a rewarding watch. Based on the 1811 novel by Jane Austen, it follows the well-off Dashwood family, after the patriarch dies and leaves them a pittance of a will. How will they survive? Scaling down their budget, sticking together, and maybe flirting with rich boys. But when things get complicated, how will love win out? Having never been exposed to this tale, it's almost a relief how little focus is on wealth and saving the family here. We're more preoccupied with finding a good man, and struggling to get through the drama of building a relationship. The dubious age dynamic is hardly addressed, though I expect that's typical of the time period. The happy couples hardly spend enough time together to consider marriage, seeing as the majority of the runtime is trying to get an audience with them. We're content to remain in the early stages of courtship. I'm dismayed and embarrassed to admit my experience was borked up when I couldn't hardly tell the Dashwoods apart. I wasn't even sure if their mom was their sister or what, and which sister got bamboozled by which man? Which one is Mr. Ferrars again? I promise I tried, and I fear it may happen to others unfamiliar with the text. Says on Wikipedia here the "Sense and Sensibility" are referring to Elinor's responsibility and Marianne's emotion-driven romance. I'm afraid the nuance was utterly lost on me. Regardless of my face-blindness, it was a treat to observe and gossip about the goings-on of well-to-do nobles in the 17th century, just as the characters in-universe do. Will they ever catch a break?! That cowardly cad better not show his face! I do say! And the filmmakers didn't get caught up "modernizing" the material, giving it a timeless appeal that'll be sure to age like strawberry wine.

Bom filme de romance e drama. A angustiante existência de mulheres negociadas em casamentos e a ilusão de vida pós matrimonio. O roteiro trabalha muito bem a ideia de Razão e Sensibilidade, é um contraste interessante de acompanhar. Razão reflete na Elinor, sendo a irmã mais realista, centrada e racional. Sensibilidade já é Marianne e sua visão de mundo romântico, apaixonante e emocional. Todos os personagens que nos deparamos ajudam no desenvolvimento das protagonistas, então as atuações são muito boas. A fotografia do filme é um dos destaques, os campos do interior da Inglaterra são paisagens de pinturas. Já Londres trás aquela ambientação aristocrata em seus bailes da nobreza. Só achei complicado acompanhar alguns diálogos por ter tantos nomes sendo citados e o inglês britânico formal ser mais difícil pra mim.

Sense and Sensibility works because it never tries to prove that Jane Austen needs to be modernized. Georgia Oakley instead brings this world closer through texture, intimacy, and the way the loss of money and social status directly affects the Dashwood **** heart of the film is Elinor and Marianne. Daisy Edgar-Jones and Esmé Creed-Miles have a very natural chemistry as sisters, and the film grows stronger as reason and emotion stop feeling like opposites and become something they learn from each other. The romances reinforce that idea too: Elinor moves from repressed feelings toward emotional openness, while Marianne matures by embracing some of her sister’s reason in the way she approaches Colonel Brandon.With a less polished visual style and a family that genuinely feels real, the film finds an identity of its own. Not every storyline gets the same amount of space, but the emotional and romantic foundation is strong enough to make this new adaptation work on its own terms.

[SPOILER ALERT: This review contains spoilers.]