Customer Reviews

Sense & Sensibility [VHS]

5 star:		(9)
4 star:		(8)
3 star:		(5)
2 star:		(6)
1 star:		(3)

 

 

Having seen the praised American version of this novel I was delighted (especially by Emma Thompson ). Sometimes I had a feeling of too much drama in that film. But I had not read this novel for some years, so I did not know why.

I read the novel again and realized that film was the American way of showing Jane Austen and her time: the men always riding (like cowboys), an education full of freedom even for girls ( Margret and her hut in the tree ...), rain in every turning point or dramatic situation ....

The BBC adaption of this novel tells the story in a more careful, smooth way, true to the novel, few thrilling scenes, but more charming ones. There is time to look at the characters, to feel with them, to see Jane Austen's English humour in some scenes and her feeling for romance. Sometimes I think there are real people on the screen, not heroes. That is one more reason for liking this film as much as the big American movie, or even better. If you want to see Jane Austen brought to life for young people today who need exaggerated feelings to be able to feel and action to find a film worth watching, then switch on the Emma-Thompson-version. If you want to travel back in time and do not want to be rushed into new situations, then watch the BBC production. It is entertaining, touching and teaching in a smooth way. It is holiday for your brain and nerves.

despite the unfortunate removal of Margaret this movie is extremely well acted, and develops more the humor of Marianne's sensibilities as oppose to romanticizing them. Which is what Jane Austen wished to develop. Two most important parts of the plot are here, as opposed to Emma Thompson's disappointing removal of the scenes where Edward visits the Dashwoods for a week and where Willoughby attempts to see Marianne in the middle of the night. I loves those parts so very much, and my heart sank upon realizing that wasn't to occurr in the Thompson version.

I rented this version from my local library and really enjoyed it. Although I liked the movie with Emma Thompson, this version is much more thorough in its adaptation. No Hollywood fluff. The actors were superb and true to the characters in the book.

Many commentators have duly chastised this 1981 BBC production for being less a film than merely a filmed book, and consequently clumsy in chosen images, while also dull in pacing and rhythm. What works on the written page clearly does not always transfer successfully unless suitable adjustments have been made to the requirements of a different medium. I'd agree that this version of Austen's novel is ultimately one better listened to than watched. At the same time, it has merits lacking in both the Emma Thompson and more recent Andrew Davies versions. Both of these last, for my money, were far too amiable in their vision, so that Jane Austen tends to emerge in them as a gentle-hearted chronicler of Regency order rather than a shrewd, even lethal social satirist.

No less a worthy than E.M.Forster is on record as saying Austen showed him the possibilities of deadly domestic humor. And indeed in "Sense and Sensibility" the bores and mean-spirited types among the country gentry are captured for all time, like insects in amber. This adaptation of the novel is truer than others to Austen's insights here. Dinner parties and card-playing scenes are punctuated by superlatively stupid or just plain snobbish comments from the due recipients of Austen's irony. And Lucy Steele, for instance, emerges not as a potentially sympathetic fiancee of Edward's, but as in the novel a pretty mean inquisitor who adds to Elinor's private sufferings.

The final encounter of Willoughby and Elinor is included here, as in the
Davies version, but the dialogue in this version is truer to the complex moral response of the novel. In Davies, Willoughby remains pretty much just a nasty fellow to a suddenly one-dimensional, priggish Elinor and an unnecessarily appearing Marianne. The Thompson and Davies versions, of course, have their merits, and as films clearly surpass this production in technical aspects. Still, short of rereading the novel, Austen's readers can gain much from this version.

This 1981 BBC version of Jane Austen's "Sense and Sensibility" presents a mixed bag for both those who adored the novel and those who were delighted in the 1995 screen adaptation. In terms of fidelity to the book, the seven-part mini-series has more time to devote to the Dashwood sister, helped in part by the fact there are not just two of them since Alexander Baron's screenplay (based on Denis Constanduros' outline), eliminates young Margaret. Now Edward Ferrers comes to Barton Cottage, Mrs. Jennings is around to minister to Marianne during her illness, and Willoughby tries to visit her during that time as well. So much more of the novel, as well as much more of Austen's original language, is to be found, although I find the dynamic of the Dashwood family to be quite different without young Margaret trying to figure out which older sister to emulate.

However, if there is such a thing as being too reserved in a BBC costume drama, this production directed by Rodney Bennett would be it. I watched the 1998 BBC production of "Vanity Fair" and found it emotionally distant, only to discover that this version of "Sense and Sensibility" has managed to slip into an even lower gear. Granted, I am admittedly a weeper, and there are several choice moments in the Ang Lee film that I still find affective a decade later. But in this production there is a remarkable lack of chemistry. I know that Elinor (Irene Richard) and Edward Ferrars (Bosco Hogan) are smitten with each other, but I never really believe it. The opening credits such Elinor and Marianne (Tracey Childs) are bound to each other, but except for a few brief moments when one defends the other to someone outside the immediate family, I find little to suggest there is any real affection. Austen's words are there, but not the heart of the story that Emma Thompson brought out so well in her Oscar winning screenplay, which is why this version never connects with me.

The story will be well known to most who take the time to watch this mini-series. Elinor is the sensible one while her younger sister is the incurable romantic who wants what little sense she has to be overwhelmed by love. It is clear that Austen sides with Elinor's view of the world, but as much as she satirizes Marianne's flights of deep feeling there is supposed to be a compassion towards the character because we are constantly invited to see her through Elinor's eyes. However, Elinor's love seems thwarted when it becomes clear not only that Edward's mother has another match in mind and the man she loves has apparently given his promise to another. Meanwhile, Marianne, who insists that the stalwart Colonel Brandon (Robert Swann) is old, literally stumbles upon her ideal in John Willoughby (Peter Woodward), and lost in her feelings her actions are close to scandalous. Then Willoughby abandons her and the question is which Dashwood sister is deeper in the depths of despair.

The test of character for Elinor and Marianne is how they respond to their romantic misfortunes, and it is not surprising that each responds in kind given their distinctive temperaments. By the time we get to the requisite happy ending Austen's point about the proper balance between sense and sensibility has been made (Elinor is too sedate for her own good, but that hardly seems as grievous a fault as Marianne's dramatic excesses). Yet for all of their suffering in this tale, the happy endings seem rather tacked on and many viewers have been surprised given the length of the production that the ending is so abrupt. That was the last straw and resulted in my decision to round down on the rating for this one, and explains why my final thought is that I am even more impressed with Thompson's adaptation of Austen's novel that I was before I started watching this version.

Rodney Bennett's 1981 BBC adaptation of "Sense and Sensibility," the glorious romance of mores and manners, set during England's Regency Period, lacks verve, pizzazz, vitality. However, except for the mysterious absence of young Margaret Dashwood, it is quite faithful to Jane Austen's brilliant novel.

Comparisons to Ang Lee's Award-winning film version, with screenplay by Emma Thompson, is inevitable - but is like comparing apples and oranges, although both are based on Ms. Austen's first published novel. And "there is the rub." Bennett's film cannot compare in the polished final production, gorgeous locations and beautiful period costumes department - assets which a small budget cannot bestow upon a movie, especially one made for TV. However, many of the performances here are excellent, especially those of the Dashwood sisters, Willoughby, Edward Ferrars and Lucy Steele.

A Lovely Tracey Childs plays Marianne Dashwood to perfection. Marianne is a passionate young woman, with a definite inclination toward the humanities: art, music and literature. Her heart rules her head, more often than not, and she has a very spontaneous nature. Irene Richard gives a strong performance as Elinor Dashwood, the older of the two sisters. She has a more practical, sensible temperament. While Elinor appreciates the music and literature that her sibling so passionately loves, she definitely thinks things through before making decisions, or taking action, and keeps her personal feelings to herself. She feels tremendous responsibility for her family's well-being. Marianne believes that Elinor, whom she loves, is too cold, and subdued - more concerned with propriety than with feelings. Elinor, on the other hand, is concerned about Marianne's open and guileless behavior. She fears her sister will be hurt by indulging in her strong emotions, and that conventional society will condemn her for this attribute. There is much reserve between the sisters, and the obvious mutual affection I have come to expect, from the novel and Mr. Lee's film, is restrained.

The deceased Mr. Dashwood, father of Elinor and Marianne, had pleaded with his son and heir, (Peter Gale), from a previous marriage, to please take care of his wife and daughters after his death. The spineless John Dashwood sincerely promises to do so, and then is persuaded not to by his greedy wife, Fanny, (Amanda Boxer). Before the Dashwood women are forced to leave their home, the Norwood estate, they meet Fanny's brother, the shy and kind Edward Ferrars, (Bosco Hogan - Warning! Superficial comment ahead! Hogan may be closer to Ms. Austen's description of Edward, but he's nowhere near as much fun to look at as Hugh Grant!). Over a period of a few weeks, while the women are packing their belongings, Elinor and Edward grow obviously fond of each other. But Fanny encourages them to expedite their leave taking.

Upon arriving at their new residence, Barton Cottage, near the estate of Mrs. Dashwood's cousin John, the women meet their relatives and some new neighbors. Colonel Brandon, (Robert Swann), is included in the welcome party. It is difficult for me to imagine anyone else in the role of Colonel Brandon except the charismatic Alan Rickman. However, even had I not seen Rickman's performance, I must say there is little chemistry between this Brandon and Marianne. Of course he is drawn at once to the beautiful, musical young woman, who does not reciprocate his affection. Instead she falls madly in love with the dashing, feckless Willoughby, (Peter Woodward).

The family settles in and explores their surroundings. Elinor waits in vain for Edward to visit her at Barton Cottage. Willoughby's expected marriage proposal to Marianne is unexpectedly interrupted. Two unhappy sisters travel to London for the season, hoping to settle their romantic affairs, and instead, find their dreams thwarted.

I won't give the story away, but it is a tale well told, all in all. I do recommend this version, especially to fans of Jane Austen. It is true to the novel and entertaining. Unfortunately it suffers in comparison to Ang Lee's later production - but that does not mean it lacks merit on its own.
JANA

I recently watched this BBC production of Jane Austen's Sense and Sensibility and I loved it.

I bought the Jane Austen Collection boxset which has all of the BBC made Jane Austen productions and this was one of my favorites of the movies.

The whole cast was superb but I epsecially liked Irene Richard and Tracey Childs as sisters Elinor and Marianne Dashwood but my only complaint witch this production is that they left out their younger sister Margaret but I honestly feel that despite that it's still a great movie and I highly recommend it!

BTW: Irene Richard who plays Elinor is also in The BBC version of Pride and Prejudice. She played Charlotte Lucas in that movie.

This SENSE AND SENSIBILITY is certainly superior to the earlier version is almost every way. That is not to say that the earlier film did not accomplish what it was attempting. And, if
they were attempting to tell the film world that this literary
classic demanded film, and challenging the BBC to do their very best, then the precursor was brilliantly successful!
This version is wonderful because the great writers knew that character and character almost by itself makes literature and film, for that matter. It takes time to reveal character and
Jane Austen's characters are worth the effort. I remarked to my spouse that the BBC version had time to reveal less important characters like Mrs. Dashwood and the dastardly Dashwoods as well. There was time to reveal Willoughby and those wonderful dialogues between he and Marianne. There was time to feature the heated conversations between the sisters Dashwood. The casting for this movie was wonderful, and I anxiously await other productions with this excellent cast! There was time, too, for the camera to grasp the landscape and the environs for the viewer and they did it lovingly. Nowhere in this film was the action of the literary work abbreviated. The movie moved in its own time, but it faithfully moved in Jane Austen time as well, and it was she after all, who loved that time well enough to capture it for us. Thanks.

I am a huge fan of Jane Austen. I have read most of her books to include SENSE AND SENSIBILITY. If you are seeing the story in movie form for the first time, you may enjoy the 90s version with Emma Thompson more due to the famous cast and pace of the film. If you are a fan of Jane Austen or a fan of period films, history, or anything English, you will really like this version. It captures a great deal of the atmosphere that exists in the novel. Although much of the cast is wonderful, the best and most memorable performance is by the actor Peter Woodward who plays Willoughby, the love interest to the Marianne Dashwood character. Woodward turns in an excellent performance as a man of the era and is able to convey a very romantic figure so much so that the audience can understand the reasoning behind Marianne Dashwood's love for him. This wonderful performance is no surprise as Woodward has wonderfully portrayed other characters in historical settings in other productions such as THE HOUSE OF ANGELO and TESTAMENT OF YOUTH. He also had a small role in the Mel Gibson epic, THE PATRIOT. When watching these performances it is easy to see why Woodward has such a huge following among female fans through the short lived science fiction series for television, CRUSADE. Woodward has continued to show his diversity through a recent documentary series for the History Channel called EGYPT:BEYOND THE PYRAMIDS. I fully recommend this version of the Austen classic due to its quality and a truly great performance in a supporting role.

Since this is twice as long, it includes more of the story than Emma Thompson's version (also a fine one). But even this one had to exclude some characters. I absolutely love this version of the book! I also love Emma Thompson's, but this satisfies my craving to see more of the story.