New 'Sense and Sensibility' Film Criticized for Modernizing Austen's Nuance

A new screen adaptation of Jane Austen's "Sense and Sensibility" has been met with critical assessment, with one review arguing that the film struggles to capture the essence of Austen's 18th-century novel for a modern audience.

The film, directed by Georgia Oakley and written by Diana Reid, is visually appealing and features strong performances. However, according to critic Brian Viner, the adaptation, starring Daisy Edgar-Jones as Elinor Dashwood, diminishes the subtle nuances that are central to Austen's narratives. Viner suggests that in attempting to make the story accessible to contemporary viewers, the film oversimplifies the characters' emotions and relationships.

He contrasts this version with Ang Lee's 1995 adaptation, which he believes better navigated the challenges of portraying Austen's world on screen. Viner notes the difficulty of conveying a love story characterized by restraint and civility in an era of instant communication and digital expression, a challenge he feels was more successfully handled even 30 years ago.

The review highlights specific points of contention, such as the portrayal of Elinor's feelings for Edward Ferrars (George MacKay) as too overt, undermining the potential for misunderstandings that are key to the plot. Similarly, the impulsive passion of Marianne Dashwood (Esme Creed-Miles) for John Willoughby (Frank Dillane) is also examined in this context.

Viner questions the decision to retain certain plot points, like Edward's long engagement to Lucy Steele (Ceara Coveney), suggesting that such commitments might not endure in a 21st-century framework, even with a sense of honor. The casting of Norwegian actor Herbert Nordrum as Colonel Brandon, a quintessentially English character, is also noted as a curious choice, with his slight Scandinavian accent perceived as incongruous.

Despite these criticisms, the review acknowledges the film's strengths. Edgar-Jones is praised for embodying Elinor's serenity, and Creed-Miles is commended for her tempestuous portrayal of Marianne. Fiona Shaw's performance as the boisterous Mrs. Jennings is also singled out for its scene-stealing quality.

However, Viner maintains that the 1995 adaptation and a 2008 TV version were superior in many respects, citing the inclusion of a duel between Willoughby and Brandon in the new film as an unnecessary addition. The cinematography by Arnaud Potier is noted as a positive aspect, with many interior shots likened to Old Masters paintings.

The review concludes by observing the enduring popularity of Jane Austen adaptations, with another "Pride and Prejudice" interpretation set to be released. It likens Austen adaptations to "tins of Quality Street," suggesting that while favorites exist, each new version is worth experiencing.