Of the 512 films nominated since 1927, only a handful exist that I have almost no interest in seeing. Sense and Sensibility was one of them: on my initial screen, I audibly cringed when I approached 1995 and saw that, along with Il Postino, I had yet to see Ang Lee and Emma Thompson’s adaptation of Jane Austen’s 1811 novel bearing the same name and the same tired, stepping-on-legos annoying people that plagued Ms. Austen’s novels and those of her contemporaries’, too. But it’s important to the blog and to my understanding of film history that I watch all the movies available irrespective of my aversion to them. I still find it crucial that the Academy chose each film based on specific criteria, and that each year’s winner exemplified some zeitgeist-affirming premise, or more likely, mood.
That said, it’s hard to argue against Sense and Sensibility for a nomination: the cast is impeccably English and Austen-esque, Thompson’s adaptation rightly (for film) exaggerates certain aspects about the Dashwood ladies’ wealth, and modernizes some of the male leads to better attract a more modern audience. Lee’s wide shots and modest cuts between scenes created, if nothing else, a beautifully filmed 2-hour adaptation. Really, though, nothing else: Austen, like the Brontë sisters, created this fantastical world where every sister or mother is clever and brooding and every man is either dashing or hopeless, but cruel nevertheless.
Thompson captured the essence of this story with fluidity and passion, but even with her sharp pen, the story suffers from a wanton ambivalence towards any of her characters and a waning clarity regarding the feelings of her moste brooding Elinor and Marianne Dashwood, sufferers of too many male suitors and not enough money to live in a gigantic estate, only a smaller one. At its core Austen’s novel and Thompson’s adaptation proxies Søren Kierkegaard’s Either/Or, within which the brooding lover decides whether she will choose sense or sensibility, never bits of both, but in truth makes no choice, simply an acceptance of fate. Oh the cruelty of Mrs. Dashwood’s husband’s first ex-wife! Oh, my word Colonel Brandon, dashing and handsome, are you too gentle and too schooled on the harshness of the world to love? Are you too sensible for me you old man of 35? Do I sense that you, Mssr. John Willoughby, dashing and handsome, schooled in the fantastical currency of culture and a passion for the senses? Will you betray the poor(ish, not really), beautiful Miss Marianne? Ah Hugh Grant! Will you show up shape-shifted into another bumbling do-gooder who can’t do good right? Continue reading