From Focus Features and Working Title comes an irresistible new take on Jane Austen’s iconic “Sense and Sensibility”: a charming, witty, and deeply relatable story of love and sisterhood starring Daisy Edgar-Jones and Esmé Creed-Miles.
One might arguably ask why Jane Austen’s debut novel “Sense and Sensibility” deserves yet another screen adaptation, after so many previous versions. The answer lies in the novel’s complex narrative structure, which allows fresh interpretations, in this case, with an emphasis on the relationship between the Dashwood sisters. To paraphrase a common maxim, if it’s worth re-doing, it’s worth re-doing right.
The most recognizable star, Daisy Edgar-Jones as Elinor Dashwood, does a fine job portraying a firmly principled young woman possessing an abundance of emotion hiding just beneath the surface. Esmé Creed-Miles plays Marianne, a full-spirited gal unapologetically seeking a similarly passionate man as a husband. In such a strong ensemble, she nonetheless nearly steals the show with a charismatic, captivating performance.
Though the youngest sister, Margaret (Bodhi Rae Breathnach), often finds herself in the background, she still has strong feelings of her own, relishing Elinor and Marianne’s joyful hopes while sharing their disappointments.
Superb casting from top to bottom represents perhaps the most outstanding aspect of this production. Tom Brooke plays John Dashwood, the half-brother of Elinor, Marianne, and Margaret. His mother died ten years earlier; afterward, John’s father, Henry, married the current Mrs. Dashwood (Caitriona Balfe).
Though he seems quite stilted in most of his scenes, Brooke’s character is intentionally drawn that way for hilarious effect. He is kind, generous, and respectful of Henry’s wishes to provide for the second Mrs. Dashwood and her three daughters after his death, who are otherwise largely without formal bequests, which is where the movie begins. John‘s wife Fanny (Stacy Martin), however, shares no such sympathy for the half-sisters and quietly quashes most of his benevolent impulses. All the while, John gently pokes, prods, and even mocks his willful partner, who invariably sits or stands preternaturally upright with a smirk on his face, as if rigor mortis has set in from head to toe.
George MacKay as Edward Ferrars, Fanny’s brother, befriends Elinor and over the course of a summer visit, the two become constant companions. His shyness keeps him from expressing his feelings for Elinor, which suits Fanny because she has higher expectations for Edward’s marriage prospects.
Early on, a distant older relative by marriage, Mrs. Jennings (Fiona Shaw) visits the Dashwood mansion. Now widowed and flush with her inheritance, she boisterously enjoys life, free of inhibitions regarding whatever gossip there may be to be had. When she learns that Fanny intends to take over the Dashwood household despite John’s reservations, Mrs. Jennings generously offers the women a Devonshire cottage owned by her son-in-law, with the incentive of inexpensive rent. Mrs. Dashwood’s contempt for Fanny leads her to accept immediately, separating Elinor and Edward.
In their new, more modest residence, the Dashwood women acclimate well enough. On a frolic near the ocean, Marianne unexpectedly sprains her ankle in the sand. Margaret runs for help and finds Mr. Willoughby (Frank Dillane) riding nearby. He ushers Marianne home and says he will call the next day to check on her recovery. Smitten immediately, Marianne dances and cavorts with Willoughby day and night. A far more reserved would-be suitor, Colonel Brandon (Herbert Nordrum), is overpowered by Willoughby’s effervescent personality and politely dismisses himself.
Willoughby eventually leaves for London, promising to keep in touch with Marianne. Though she had hoped for a marriage proposal, none came. Despite the circumstances, Elinor and Marianne go day to day in Devonshire, managing wistfully without any correspondence from their men. When they learn that Mrs. Jennings plans a trip to London, where Edward and Willoughby both reside, they manage to get invited along, hoping to rekindle their relationships.
The twists and turns that follow make for delightful fare throughout the remainder of the film. The extensive array of characters, too numerous to mention here, populates the proceedings with vigor, embodying deliciously disparate motivations in this robust retelling. Elinor and Marianne counsel and spar over love, life, and happiness, creating a richly textured narrative. Production and set design craft a first-rate period piece, yet still let nature’s grime and dirt infuse the visuals, adding a welcome touch of realism.
Directed by Georgia Oakley and adapted by Diana Reid, this latest remake of an enduring tale is well worth the time for viewers of any age. “Sense and Sensibility” confidently follows two strong women as they find their way in a world largely dominated by men. The film offers another welcome perspective on Jane Austen’s lasting legacy that will resonate with contemporary audiences for years to come.
In Theaters Friday, October 16th
