![]() |
Emma Thompson and Kate Winslet are superb in probably the greatest Austen adaptation on film, Sense and Sensibility |
After the death of Mr Dashwood (Tom Wilkinson), the Dashwood
estate passes into the hands of his son John (James Fleet) and John’s ambitious
wife Fanny (Harriet Walter), leaving his second wife (Gemma Jones) and their
daughters sensible Elinor (Emma Thompson), passionate Marianne (Kate Winslet)
and giddy schoolgirl Margaret (Emilie Francoise) suddenly homeless. However,
this does bring Fanny’s gentle and kind brother Edward Ferrars (Hugh Grant)
into Elinor’s life, and an unspoken romance builds between the pair. There is
passion in the air for Marianne at their new home, when she is rescued from a
fall in the rain by the dashing Willoughby (Greg Wise). But are there secrets
in the pasts of both men that could threaten the sisters’ happiness? And how
did Willoughby’s life intersect with the reserved Colonel Brandon (Alan
Rickman)?
Thompson’s superbly written script is a faultless adaptation
that makes not a single poor choice, and expands and enriches several
characters (in particular the three men) to great effect. Thompson not only
brings much of the humour and wit in Austen to the fore – the film is
frequently very funny – she also understands here truth and tenderness. Which
is why the film is so beloved: it’s a film overflowing with empathy and heart
for its characters which builds the emotional investment as skilfully as it
does the comedy. It culminates in a proposal scene which I don’t think has ever
not placed a lump in my throat.
To list all the excellent adaptation ideas would take
forever so I’ll use one example. The film wisely expands much of the early
character interactions, in particular deepening and exploring the early meeting
between Elinor and Edward. A section that takes up barely one of the book’s
(very short) chapters here fills the first 20 minutes of the film. It’s vital
as it superbly establishes the natural warmth and intimacy between these two, and
their perfectly complementing personalities.
It also allows Grant – in one of his most romantically
winning performances – to display some deeply endearing light comedy, as well
as establishing Edward as a thoughtful, sympathetic and decent man, who forms
bonds quickly with all the family (especially young Margaret) through his genuineness.
It also keeps us rooting for a relationship – and for a character – who the
film often has to leave off screen for vast stretches, and leaves us in no
doubt that his (later revealed) engagement to Lucy Steele (a woman he does not
love, and who is interested in him solely for his position) comes from the same
motives of decency, duty and the desire to do the right thing.
If that’s an example of one of Thompson’s most successful changes in her adaptation, she also unerringly identifies the things it’s most important to keep. Just like the novel, the film places the warmth of the sisters’ relationship at its heart. Helped by the natural chemistry and ease between Thompson and Winslet, the film carefully contrasts the personalities of these two sisters (one sensible and reserved, the other spontaneous and passionate) but takes no sides and also shows the sisters themselves are united by their love for each other. The film frequently features scenes of confidence and intimacy between the two, and continually brings us back to each other as the key relationship in their lives. It also shows how both need to meet in the middle ground: Elinor needs some of Marianne’s sensibility, just as Marianne needs to take on some of Elinor’s sense.
Although sense would not have necessarily helped Marianne
uncover the dangerous selfishness of Willoughby. Perhaps the only wrong call in
the BBC Pride and Prejudice (like most adaptations of that novel), is
that it makes the rogueish Wickham insufficiently handsome and too blatantly
smarmy from the start, tipping the audience the wink that this man can’t be
trusted. Not so here, with Greg Wise giving Willoughby so much charm, regency
handsomeness, dash and warmth that you would not imagine for a moment he could
be anything but what he seems. He makes a clear contrast with Marianne’s other
suitor, the older, more distant Brandon – superbly played by Alan Rickman –
whose qualities of kindness and decency are hidden behind his coolness and lack
of flash (Rickman is, again, wonderful here as a man hoping against hope for a second chance at love).
But then the film is filled with perfectly cast actors. Thompson is a brilliant and natural fit for Elinor (even if she is too old for the part, something she acknowledged herself) giving her acres of emotional torment under an exterior she must keep calm and controlled for the sake of her family. Winslet became a star for her enchantingly free-spirited performance, grounded by a warmth and desire for the best for others that keeps the character from ever becoming irritating or overbearing.
Among the rest, there isn’t a bum note. Walter is hilarious
as the washpish Fanny, Hardy full of bonhomie as Sir John. Elizabeth Spriggs is
perfect as a gossipy old maid who is a pillar of strength when her friends are
ill-treated. Hugh Laurie is hilarious in a gift of a part as the dry, cynical
Mr Palmer whose nearly every line is laugh-out-loud funny, but who also proves
his nobility in a crisis. Staunton is equally good as his flighty, mismatched
wife. Imogen Stubbs brings out the simpering manipulative scheming of Lucy
Steele perfectly.
The whole is bought together expertly by wonderfully paced
and constructed directing by Ang Lee, whom it’s surprisingly easy to over-look.
Lee was a considered an odd choice for the film – he barely spoke English at
the time and was a stranger to Austen. But the film is an inspired match for
him, tapping into his sensitivity, the warm eye he brings to families and their
dramas, and also the observer’s wit he brings to social comedy and dynamics. Lee
also brings an outsider’s eye to England – it’s a film that looks wonderful,
but not simply romantic, with Lee not afraid of a stormy sky or a muddy street.
Interiors are shot with a candlelit beauty, and there is a sense throughout of
all this taking place in a real world. Patrick Doyle’s perfectly judged score
also works wonders to help create the mood.
Sense and Sensibility is a masterful film and a, perfect
adaptation of Austen. It’s hard to imagine that it will be bettered for some
time. Indeed, like the BBC Pride and Prejudice, it feels like it has
made all other adaptations of the book redundant. With a brilliant adaptation,
superb acting, sensitive and insightful direction and a true understanding of
the spirit and heart of Austen, this is one of the greatest adaptations ever
made.
No comments:
Post a Comment
Note: only a member of this blog may post a comment.