Sense and Sensibility (1995)
Directed by Ang Lee
Written by Emma Thompson
Starring Emma Thompson, Kate Winslet, Hugh Grant, Alan Rickman
Release Date December 13th, 1995
Published May 14th, 2011
Ang Lee's Sense and Sensibility helps me get over my childhood fear of period chick flicks.
Movies are not living things; they don’t grow or change or evolve over time. Once a film is completed it will, generally speaking, be as it is forever. What does change? We do. We age and we mature and our intellect and tastes evolve over time. Our ever-evolving tastes and growing intellect can change the way we experience a movie.
It is with this in mind that I endeavor to look back 10, 20 and 30 years at some of the most well remembered movies of all time and see how my own evolving tastes affect the way I experience these movies. I invite you to join me on this unique journey and offer your own insights ever changing opinions.
Period Chick Flick
Were I to ask my 1995 self about Sense and Sensibility he would have dismissed it as a chick flick. I have no doubt that my naïve, headstrong younger self would have no time for period pieces. Choosing to seek out Sense and Sensibility today in all honesty was a random, flighty decision and not the academic pursuit of a mature film buff that I would have liked it to be.
Regardless of my curious motivations I’m glad I chose to watch this film. The story by Jane Austen transformed by the scripting of the intelligent and insightful Emma Thompson and elegantly captured by the astute camera of director Ang Lee is a cinematic feast.
No Place Like Home
The death of Mr. Dashwood (Tom Wilkinson in cameo) leaves his second wife and three daughters at the mercy of their well meaning but cowardly step-brother John (James Fleet) and his domineering wife Fanny (Harriet Walter). The new Mrs. Dashwood is eager to take hold of her husband’s inheritance, the estate on which Mother Dashwood (Gemma Jones) and her daughter have lived all their lives.
Seeing as neither Elinor Dashwood (Emma Thompson) nor her younger sister Marianne (Kate Winslet) have a suitor, or even a prospective suitor, who might rescue the Dashwood women from their circumstances they are quite lucky to have a distant relative who offers them a cottage on his land to live in.
Secrets and Love Triangles
It’s not that the Dashwood women aren’t desirable. Indeed, Elinor had recently caught the eye of Fanny’s brother Robert (Hugh Grant); an attraction Fanny made sure to interrupt. The mutual ardor between Robert and Elinor is something they both seem aware of but neither can bring themselves to speak of it. That Robert also has a secret that holds him back will be revealed as the story unfolds.
Once decamped to their new cottage home, and after they have weathered the good nature of their hosts the gregarious Sir John Middleton (Robert Hardy) and gossipy Mrs. Jennings (Elizabeth Spriggs), Marianne finds herself the object of the affection of two men; stoic and earnest Col. Brandon (Alan Rickman) and the dashing John Willoughby (Greg Wise).
Engaging and Entertaining
Romantic travails are the main subject of Sense and Sensibilities which doesn’t so much offer a plot as a group of characters and series of experiences. There is a good deal of waiting and wailing; horses and carriages; sewing and piano playing. What makes Sense and Sensibility engaging and entertaining is the witty dialogue and the charm of these wonderful actresses.
Emma Thompson and Kate Winslet have a tremendous sisterly chemistry punctuated by quick clever dialogue that sounds authentic to sisters. The fraught romances ring true to a period where feelings bubbled under masks of propriety and societal expectations. Yes, if certain characters were slightly more forthcoming it would alleviate a good deal of anguish but the characters sell the contrivance.
Elegant and Understated
Finally, Ang Lee’s elegant, understated direction perfectly captures the mood and romance of the period. As Roger Ebert points out in his more mixed review of Sense and Sensibility Ang Lee’s background makes him perfectly suited to give life to this material. Many people in Lee’s home country of China still live by a code of conduct very similar to that of Austen’s period.
There is a scene shortly after Elinor has fallen for Edward. He was supposed to visit the family in their new cottage but he does not come. Lee’s camera slowly backs away from Elinor as if to spare her from the piteous glare of the audience. The subtle suggestion of the camera to the audience that we should not witness Elinor in this way is very moving and evocative of a period where emotions were a great deal more guarded than they are today.
There are a number of subtle moments, like the one I just mentioned, throughout Sense and Sensibility. Lee’s direction is expert in its sensitivity and acute observation of these characters. There are flaws here; the film could stand a bit of a trim from the two hours and fifteen minute run time among other things, but that and other flaws are minor compared to the rich pleasures found in Sense and Sensibility.
