The newest Jane Austen adaptation, “Sense and Sensibility,” was released in theaters earlier this month, marking itself as a visually thrilling piece amongst other classic adaptations.
Based on the 1911 novel of the same name, the period romantic drama follows the Dashwood sisters — Elinor, Marianne and Margaret, played by Daisy Edgar-Jones, Esmé Creed-Miles and Bodhi Rae Breathnach respectively — as they navigate financial ruin and romance after the recent death of their father.
The opening scene of Marianne laying in a field of grass displays the film’s greatest strength — its cinematography and visuals. From the soft whirling of wind to the trotting of horses, the film immediately captures the identity of sisterhood, femininity and tranquility, almost having a similar tone to Greta Gerwig’s 2019 adaptation of “Little Women.”
Led by cinematographer Arnaud Potier, the auditory experience is amplified through its careful, static framing. Each scene is intricately framed to add intentional focus to its characters. Without the shifting of the camera, a small movement is exemplary, noticeable and easily captivating to the audience.
Although visually appealing, some of the comedic elements fall flat; specifically with the character of Lady Middleton played by Chloe Pirrie. Lady Middleton, the wife of Sir John Middleton played by Turlough Convery, is the wealthy distant relative that allows the Dashwood’s to rent a small cottage in the small town of Barton Park. Lady Middleton is a stereotypical archetype of an awkward, mundane character that has little to contribute to social conversations, constantly speaking on the state of the weather. This humor, although faithful to the time period, is void of modern-day, relatable humor.
By contrast, the character of Marianne is the exact opposite of Lady Middleton, a young woman full of fiery passion for life. Although Daisy Edgar-Jones delivers another stellar performance, Esmé Creed-Miles as Marianne is the standout performance of the film. This is Creed-Miles largest role to date, with her character embodying the spirit of girlhood.
This passion for life is apparent when Marianne shouts in agony and heartbreak, amplified by the surrounding pouring rain. While the scene is slightly stereotypical of a period piece, Creed-Miles takes a nuanced approach to feminine rage that is relatable even to the modern dating scene — grieving the person she knows she will never be again.
The adaptation sticks very closely to the content of the novel, which could be considered a “faithful adaptation,” but other than the visual aspects, the plot of the movie is entirely predictable. Some choices could have been amplified by a nuanced take of romance, such as Marianne’s screams of agony, but lacking in other scenes similar that relate to the modern world.
From the intimate glances of still framing to the soft trickling of water, the film lets its visuals say what the characters cannot. “Sense and Sensibility” proves a familiar story can still feel fresh from its visuals.
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