Sense and Sensibility

Another Jane Austen. Always ready for a romantic period drama, complete with sumptuous costumes – even when it’s the disinherited Dashwood sisters wearing them. Elinor and Marianne, along with their mother and a younger sister, are forced to move into a small cottage following their father’s death. It isn’t actually that small, but the change in status remains: their father’s inheritance goes to the eldest son; they are the daughters of his second wife. Upon their father’s death, their social status and wealth change. For the worse, of course. And that’s a real predicament for two marriageable young women. We’re fond of the title, but another translation would be clearer: ‘Common Sense’, referring to a reasonable disposition; whilst, on the other hand, it is not so much a matter of sentiment as of sentimental illusion. These are the characters of the two daughters. Elinor, the elder sister, is realistic about her situation, her prospects, and the promises made by men. Marianne is the passionate one – in the sense of illusion and blindness, especially when it comes to men. The atmosphere is gloomy, like the perpetually grey and cloudy days. Life is austere; it could get worse. A husband is urgently needed—preferably a wealthy one. Elinor falls in love with Edward Ferrars (and agonises over the fact that he does not ask for her hand in marriage). The 1995 film, directed by Ang Lee and starring Kate Winslet and Emma Thompson, was decidedly superior. Jane Austen’s biting wit has gone.