I’ve now seen it, once, and had a little time to mull it over. But I really wish I could watch this new adaptation of Jane Austen’s beloved novel a couple more times (as I did with Emma 2020) before trying to give it a proper evaluation. That often makes a difference for me. But here goes.
For the uninitiated (or those only marginally familiar with JA’s novels), I believe this film will play well, with its visually sumptuous cinematography, high drama, and a vibe similar to Pride and Prejudice 2005 (not surprising, since it’s produced by the same studio). I can only hope that it will be just as successful at capturing the interest and hearts of another generation for Jane Austen.
For confirmed Jane Austen fans like me, however, it’s a little different. It’s impossible to completely set aside my frame of reference to judge the merits of this movie on its own. What I already know about the story both fills in blanks for me and distracts me when I run up against something that’s been changed from the original. Even setting the novel aside, there’s the inevitable tendency to compare with other adaptations.
We have two excellent S&S adaptations already, imo (’95 and ’08). And I may as well say at the outset that neither of them is in any immediate danger of being displaced by ’26 in my mind and heart. It is a very well-made and entertaining film however. The relationship between the four Dashwood females is portrayed compellingly, the production values are high, and the actors talented. The dramatic lighting is much too dark for my personal taste (more suited to Wuthering Heights or Outlander). And I thought the costumes very drab.
That’s the quick summary. Now let’s dig a little deeper. SPOILER ALLERT! Yes, I know you already know the S&S story and how it comes out, but I will be mentioning some details of this production that could alter your enjoyment of the film.
Watching this latest rendition, my initial tendency was to be distracted by all the messy hair, to be stumbled by the period incorrect details, and to focus too much on a couple of fairly minor changes in the story (Edward and Lucy’s past relationship and why he was honor bound to marry her; who it was that Willoughby left pregnant and abandoned). These things were dropped in and passed over so quickly that it was difficult for me to immediately process whether the alterations mattered or even made sense.
After further consideration, though, I realized there was a larger issue at stake. The main theme of the book – clearly illustrated by Austen’s crisply drawn characters and even spelled out for us in the title itself! – has nearly been lost in this latest interpretation. Although Elinor and Marianne are presented as loving, sympathetic young women, the sharp contrast between the two has been blurred.

Of course I know one sister represents sense and the other sensibility, but I’m not sure someone new to Austen would even see that’s what’s being tested here – whether it’s better to be ruled entirely by one’s emotions or to be governed primarily by rational thought and prudent restraint. And because the difference isn’t made crystal clear in the beginning, we don’t see as much satisfying growth in both sisters as they learn from each other and their own mistakes.
Maybe the wild hair is symbolic, because there is very little restraint demonstrated in this film. The music is loud and the dancing unconventional. The behavior of most people (especially inappropriate in Sir John Middleton) is raucous and unrefined. We don’t see ladies and gentlemen behaving like ladies and gentlemen, and I missed that. Even Elinor doesn’t suffer her heartbreak over Edward in reserved silence. As one friend put it, “Everyone just said everything… You can’t have a story about yearning if the couple just talks.” (Bethany Delleman)
Then there’s the matter of the duel between Willoughby and Brandon. In the book, it happens out of view (B. privately calling out W. according to time-honored tradition, to address his crimes against Miss Williams). In this film, the event has been hijacked to a different time, place, and purpose. Again, all restraint and self-control are lost. Brandon, in a fit of rage, practically drags Willoughby outside at Cleveland, making the duel more about Marianne’s disappointment and her getting to see Brandon in a new light – that he has a passionate side after all. The spectacle takes place in full view of the ladies, who seem highly entertained, even amused, by it. Very strange.
By this point, you might have the impression that I hated this production, but I didn’t. And I wouldn’t discourage anyone else from seeing it either. (For one thing, we need to support films in this genre if we hope to see more, perhaps even better ones, made.) Since I wasn’t expecting a perfectly accurate adaptation of Austen’s novel, I wasn’t really very disappointed. I was able to enjoy the film (mostly) with the philosophy that “some Austen is better than no Austen.“
As I said at the outset, I hope this new incarnation of Sense and Sensibility will serve to draw another generation to love Jane Austen, that they will be intrigued enough to ultimately seek out her novels and read them. If that new audience goes no further than watching this movie, however, they will be left with an incomplete and somewhat inaccurate picture of what that great lady and her stories were all about.

PS – The lighting may have been gloomy and the costumes drab, but I would be remiss if I ended without mentioning one very bright spot! My personal favorite: Fiona Shaw (who played Mrs. Croft in Persuasion ’95) as a spot-on Mrs. Jennings. Her performance alone was worth the price of admission. As many have said, she stole the show!
Mrs. Jennings, Lady Middleton’s mother, was a good-humoured, merry, fat, elderly woman, who talked a great deal, seemed very happy, and rather vulgar. She was full of jokes and laughter, and before dinner was over had said many witty things on the subject of lovers and husbands; hoped they had not left their hearts behind them in Sussex, and pretended to see them blush whether they did or not. – Sense and Sensibility, chapter 7
You’ve heard my opinions, and now I’m wondering if you agree with them or not. Have you seen the film? Do you intend to? What did you like or dislike about it? And how would you rank it against other S&S adaptations?
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