Georgia Oakley’s adaptation of Jane Austen’s Sense and Sensibility, arriving in theaters on October 16, presents a visually captivating experience that nevertheless feels cinematically anonymous. The film attempts to balance social farce and genuine romance but ultimately falters, resulting in a watchable, albeit emotionally plain, rendition of the classic novel.
The story follows the Dashwood sisters—Elinor (Daisy Edgar-Jones) and Marianne (Esmé Creed-Miles)—after their father's death leaves them disinherited. Forced to relocate from their opulent estate to more modest lodgings with their mother (Caitríona Balfe) and younger sister Margaret (Bodhi Rae Breathnach), the sisters navigate the complexities of love, marriage, and societal expectations in Georgian England. Elinor pines for Edward Ferrars (George Mackay), while Marianne experiences a whirlwind romance with John Willoughby (Frank Dillane) and rebuffs the affections of Colonel Brandon (Herbert Nordrum).
A Disconnect in Tone and Emotion
A significant challenge for the film lies in its engagement with the novel's tone. While the Dashwoods lament their reduced circumstances, brought about by a scheming half-brother John Dashwood (Tom Brooke) and his wife Fanny (Stacy Martin), the movie's picturesque settings and melodic score clash with a borderline satirical approach. This creates a jarring dissonance, leaving the film caught between class satire and heartfelt drama.
Arnaud Potier's 35mm cinematography delivers gorgeous natural vistas and striking visual contrasts. However, the behavior depicted within these beautiful compositions feels somewhat underdeveloped. Unlike previous adaptations, such as Ang Lee's 1995 film, which captured a nuanced sisterly dynamic, this version relies heavily on exposition to define Elinor and Marianne's personalities and their differences. The filmmaking rarely emphasizes their individual traits, a failing particularly evident in a scene involving the minor character Lady Middleton (Chloe Pirrie). A moment intended to highlight her dullness by discussing the weather falls flat, as many characters around her lack comparable energy.
While standout performances from Fiona Shaw as the kindly Mrs. Jennings and Turlough Convery as the boisterous Sir John Middleton inject life and mischief, they tend to overshadow the lead actresses. Edgar-Jones and Creed-Miles portray younger, more age-appropriate versions of the sisters, but their connection feels less organic and more explained than felt.
Unresolved Dramatic Ambitions
The film's visual language further contributes to its emotional distance. Medium shots dominate, keeping the camera too far to convey genuine emotion or too close to effectively satirize the era's class absurdities. This lack of judicious close-ups and varied shot selection leaves the emotional arcs feeling lukewarm.
Ultimately, Oakley's adaptation struggles to commit to a clear thematic direction. It hesitates between offering contemporary commentary on outdated social mores and fully immersing the audience in the era's romantic drama. The film leaves viewers to infer whether the sisters are justified in their grievances or merely foolish for prioritizing status, but its narrative lens fails to guide the audience toward a definitive conclusion, hindering full investment.
In its verdict, the review states that Georgia Oakley’s Sense and Sensibility is a visually appealing adaptation that is ultimately too emotionally plain. Despite adequate lead performances and some strong supporting turns, the film struggles to generate the necessary mood for a modern retelling, leaving it trapped between a conventional retelling and an uninspired class satire. While watchable, the film misses opportunities to be much more engaging.