THE STORY – The Dashwood sisters, sensible Elinor and passionate Marianne, learn that their prospects of marriage seem doomed by their family’s sudden loss of fortune. After Henry Dashwood dies unexpectedly, his estate must pass on by law to his son. These circumstances leave Mr. Dashwood’s wife and daughters without a home and with barely enough money to live on. As Elinor and Marianne struggle to find romantic fulfillment in a society obsessed with financial and social status, they must learn to mix sense with sensibility in their dealings with both money and men.
THE CAST – Emma Thompson, Alan Rickman, Kate Winslet, Greg Wise & Hugh Grant
THE TEAM – Ang Lee (Director) & Emma Thompson (Writer)
THE RUNNING TIME – 136 Minutes
The exquisite 1995 film adaptation of Jane Austen’s “Sense and Sensibility” set a golden bar for reimagining literary classics from page to screen. Austen wrote the novel over 200 years ago, and while a lot has changed since then, Austen touched on notes of human behavior that have remained evergreen. Among them, how do we navigate between listening to our heads and our hearts? “Sense and Sensibility” has a remarkable universality in how astutely Austen wrote about people, and the 1995 film draws out her intricate characterizations to gorgeous effect. With the creative involvement of Ang Lee and Emma Thompson, this adaptation was destined for greatness and has lived up to it, becoming one of the greatest films ever made.
Standing out in a sea of ’90s period pieces, “Sense and Sensibility” caught lightning in a bottle. Ang Lee’s approach to social comedy and family relationship dynamics, as shown in his previous films “Eat Drink Man Woman” and “The Wedding Banquet,” lent itself perfectly to Austen’s world. Emma Thompson was hot off the heels of her Oscar-winning performance in “Howards End,” plus two additional Oscar nominations for “The Remains of the Day” and “In the Name of the Father.” Kate Winslet had burst onto the scene with her feature film debut, “Heavenly Creatures,” where her lively portrayal of Juliet Hulme became a source of casting inspiration for Marianne Dashwood’s intense emotionality and fierce passion. Hugh Grant popped up just before the full bloom of his charming rom-com era (circa “Notting Hill” and beyond). And it was a treat to see Alan Rickman play in a more romantic register, following his iconic work as the villainous Hans Gruber in “Die Hard.” “Sense and Sensibility” assembled phenomenal, once-in-a-generation talent to tell a timeless story.
Mr. Dashwood’s death (Tom Wilkinson) has left Mrs. Dashwood (Gemma Jones) and their daughters Elinor (Emma Thompson), Marianne (Kate Winslet), and Margaret (Emilie Francois) nearly penniless. Going against his father’s dying wish, John Dashwood (James Fleet) decides to keep most of the family inheritance for himself and his wife, Fanny (Harriet Walter). John and Fanny’s greed ultimately leaves the Dashwood women no choice but to leave the family’s Norland Park estate and find a new home. Thanks to the generosity of relatives Sir John Middleton (Robert Hardy) and Mrs. Jennings (Elizabeth Spriggs), a quaint Barton cottage in Devonshire becomes a safe haven. Once in the countryside, Marianne is drawn to the dreamy yet elusive John Willoughby (Greg Wise) and the perceptive older Colonel Brandon (Alan Rickman). As Brandon yearns from afar, Marianne falls deeply in love with Willoughby. Keeping composure as the eldest sister, Elinor guards her love for Fanny’s brother, Edward Ferrars (Hugh Grant), who has gone quiet since their romantic sparks at Norland. Mrs. Jennings, who fills her days by marrying everyone off, invites the Dashwood sisters to London and sets a domino effect of broken hearts and happily ever afters.
Within the first twenty minutes of the film, Lee and Thompson masterfully set up layered characterizations and pressing narrative stakes. The sublime heart of this adaptation starts on the page with Thompson’s screenplay, a remarkable balance between channeling and imagining Austen. Thompson makes subtle shifts that retain the novel’s essence while highlighting distinctive observations on romantic commitment. At the core, Elinor and Marianne’s sisterhood gives way to engaging tension between acting on logic and on impulse. Through their care for each other, they learn to balance sense and sensibility, leading both toward a deeper understanding of love. Two of the most gorgeous scenes, a melancholic Marianne reciting poetry in the rain and a joyously emotional Elinor reacting to news of Edward’s engagement, excel at showing us two integral experiences for these characters, as they come to know the true nature of their suitors.
Ang Lee’s direction complements the dialogue with delicate intentionality. Longing gazes and small gestures between characters are often where the magic happens. This is where the relationships find shape, and Lee brings a calm focus to convey several dynamics unfolding at once. He has an excellent handle on when a close-up of a character feels most significant, and when to paint a broader picture for establishing a landscape or how characters inhabit space. In a standout sequence, the simple act of Elinor and Edward walking through part of the Norland estate together catches everyone’s attention. Marianne looks up from her piano. Mrs. Dashwood passes by in the hallway with a satisfied grin. Then the camera cuts to a snobbish Fanny, looking down on everyone from one floor above. It’s brilliant direction that shows how Lee creates gentle anticipation through character observation.
The film radiates wit and a sparkling sense of humor you’d expect from Thompson’s sensibilities. She anchors the film with an extraordinary performance as Elinor, the eldest sister who leads her family by example. She personifies honor and duty while underplaying her romantic feelings for Edward, bottling them up into soulful, yearning stares. The weight of his absence and potentially unrequited love presses on Elinor for weeks, and however composed she may be on the surface, Thompson subtly reminds you of the agony bubbling underneath. She excels at pretending to be fine when her heart is anything but, and her chemistry with Kate Winslet radiates comforting sisterhood.
From the moment we first meet Marianne, playing a mournful tune at her piano, Winslet is a transfixing presence. She captivates the screen with passion and wears her heart on her sleeve. Her work carries a compelling innocence, as she does not yet know the ways of the world. When Marianne experiences heartbreak and sees through Willoughby’s elusiveness, Winslet excels at taking us on the character’s journey toward a more mature, introspective version of herself, without diminishing her spirit. In a standout scene of Colonel Brandon reciting poetry to Marianne, Winslet makes clear that as much as Marianne wants the fiery spark of romantic devotion, it’s also important to her to be loved and understood.
The film shines with an excellent ensemble across the board, a real treasure trove of British talent, brilliant at irony and wit. Alan Rickman’s hypnotic voice and physicality lend to Colonel Brandon’s quiet disposition. He brings understated charm and anticipation to a character of few words. Greg Wise is utterly charming as Willoughby and dashes into the film like a fairytale character, sweeping Marianne off her feet. Wise also excels at gradually drawing out Willoughby’s hidden motivations. In more contemporary terms, he embodies the all-too-relatable modern romance qualities of love bombing and ghosting.
As the loyal Edward, Hugh Grant stumbles into frame with an endearing awkwardness. While not a particularly interesting character on the page, Grant has enough star power to keep you engaged in Edward, building anticipation for his standout “My heart is and always will be yours” romantic declaration to Elinor. In the London-set scenes, Hugh Laurie and Imelda Staunton pop in as the amusing Mr. and Mrs. Palmer, dear acquaintances of Mrs. Jennings. It’s a treat to watch Laurie’s dry humor paired with the much more effusive personality of Staunton’s character. Harriet Walter steals every scene as Fanny and relishes every line of dialogue. Gemma Jones as Mrs. Dashwood often goes unnoticed in this all-star cast. She is stellar at bringing out the character’s romantic sensibilities, and her telltale reactions to pivotal conversations propel the story forward.
The crafts of “Sense and Sensibility” paint a gorgeous picture of romantic yearning and societal restraint. From the decorated Norland estate and the serene Devonshire countryside to the bustling London ballroom, each setting comes to life with Michael Coulter’s stunning cinematography. The period-accurate costume design by John Bright and Jenny Beavan (who herself went on to win two Oscars since) is a detailed extension of the characters’ personalities and social status. Patrick Doyle’s phenomenal score soothes you into the film’s opening credits, then sweeps in with more dramatic flair to heighten the emotional stakes. It’s one of the gentlest and most joyous pieces of music, fitting for the film’s tone.
“Sense and Sensibility” has stood the test of time, becoming one of the most revered literary adaptations. Ang Lee’s direction and Emma Thompson’s screenplay are a dream pairing, as both engage with the story so earnestly. Most impressively, the film shines as a standalone narrative and resonates profoundly, whether or not you’re well-versed in Jane Austen’s work. Thompson and Winslet bring out the comforting, complementary sisterhood between Elinor and Marianne, and their relationship is endlessly compelling. The film radiates hope amid economic and social disparity, as you root for the Dashwoods to thrive and feel independent and loved. It’s an astonishing film you can revisit at different stages of life and still feel inspired each time.
