Georgia Oakley’s well made period flick is an easygoing throwback but struggles to offer much of a twist on the tale.
In a world of endless reboots, reimaginings and remakes, a groan of trepidation would not be out of place for a remake of Jane Austin’s classic novel Sense and Sensibility. With Ang Lee already helming a much loved 1995 version, this modern retelling falls to Georgia Oakley who shows she has a great directorial eye without fully recapturing the magic and uproarious reception of her debut Blue Jean.
As is common knowledge Sense and Sensibility follows the Dashwood family, mainly the three sisters Elinor (Daisy Edgar-Jones), Marianne (Esmé Creed-Miles) and Margaret (Bodhi Rae Breathnach) and their trials and tribulations through love and life. Raised by their widowed mother Mrs. Dashwood (Catriona Balfe) they’re forced to move out of their family estate inherited by her stepson John Dashwood (Tom Brooke) to a humble cottage in the Devon countryside. There’s a striking and brooding, grey atmosphere despite the film’s sensitive and gentle approach to heartache. Oakley along with cinematographer Arnaud Potier shoot the beautiful landscapes and candlelit rooms on gorgeous 35mm film which greatly compliments the story.
The film plays out as a messy lesson in love, mainly through the eyes of Elinor and her crossed wires pining for Edward Ferreas (George McKay). A shy and sensitive man, he represents an alternative to the brash idealisation of over confident male traits in Marianne’s love interest John Willoughby (Frank Dillane). There’s expectation in this world of marriage and courtship but the film has a decidedly relaxed and cozy tone. The comedic elements mainly filtered through Fiona Shaw’s supremely irritating Mrs. Jennings are eye-rollingly simplistic and hammy. Almost like an obligation rather than a careful choice that can jar the push and pull of the characters’ complicated feelings.
McKay and Edgar-Jones are very adept at their roles with Edward feeling an obligation towards his domineering family and never seeming quite brave enough to take the leap with Elinor. Though the source material perhaps offers a meatier explanation and exploration of their connection. Here it feels a little rushed and can leave the audience high, dry and wondering quite why they’re so inwardly obsessed with each other? Marianne has a more understandable intoxication with Mr. Willoughby and he is essentially an aristocratic bad boy with Dillane playing posh and irritating a little too well.
There is familial pressure throughout but also a refreshing openness to the all female family. There is more agency for each woman than in a lot of other period work which speaks to Austin’s miles ahead of her time portrayal and Oakely’s vivid handling. Though it is hard to overpraise when what we’re seeing is so fundamentally down the middle. Is there much more to this version of the classic text than a handsome update with actors the younger viewer knows and likes? It doesn’t seem entirely necessary to have bothered but at least everyone has given it a loving and thoughtful go.
3 / 5
While never changing the wheel this new Sense and Sensibility is an enjoyable and undemanding watch that will go down well on a rainy Sunday with a cup of tea and a biscuit.
