Ragione e sentimento

If it wasn't for Jane Austen's novels and their screen-adaptation, we wouldn't be much familiar with the English gallantry and the bourgeois manners of the early 19th century. Her oeuvre encapsulated a time where women didn't have a way to go through life without landing on the "marriage" square, hardly an issue to please feminists but who would call Austen traditional or submissive for all that? She respected the conventions but made powerful social commentaries in the indirect sense that her female protagonists never married someone they didn't love. Marriage was the end, but love was the means to achieve it, while marriage of convenience was the privilege of the mediocre ones.

Now, there is an interesting point of comparison between her two most celebrated novels: "Sense and Sensibility" and "Pride and Prejudice". "Sense" was Austen's first success, written at a very young age, yet it deals with characters evolving in the realm of adulthood, while in "Pride", written by an older Austen, the heroines are the Bennett Sisters who aren't older than twenty. It is just like Austen was a painter who had to go to the top of the mountain to have a clear view on a plain after having painted the mountain from the plain. With enough experience and wisdom, she was able to make a brighter portrait of a young generation who get the man through their actions. In "Sense", the Dashwood sisters are fully-dimensional characters, Elinor (Emma Thompson) is reserved and introverted while Marianne (Kate Winslet) is romantic and flamboyant, they're more mature than the Bennetts sisters, but at the expense of their reactivity.

In "Pride", luck and men's valiance were not elements to count on, and many round trips allowed the heroine to confront her suitor. It is possible that "Pride" was a bit too modern while "Sense" was more obedient to the perception of women's role at the time (rather static), but the directing by Ang Lee and the screenplay worked in such a way that the quest for marriage isn't actually the most interesting part of the film. And while I don't think I give away the ending by saying that each one will find the true love, it's obviously not the point of suspense; the real question is how these people interact. And just like your typical Austen's stories, there's a good deal of passions and deception, or romantic studs popping up at the right moment and forcing the women to all align in the house to promptly welcome their host. Some are dark and brooding (Alan Rickman) other shy and amiable (Hugh Grant) and a few too perfect to be true (Greg Wise) but they all have one thing in common, they're conveniently called to office in London whenever marriage seems too close, a snobby bitch or karma playing the same game postponing the overdue rendezvous with destiny.

But as predictable as these films are, their quality is elsewhere, starting with the acting. Literary movies have this quality that the abundance of words and plots can sometimes distract from simpler moments that actually elevate them more than any monologue or speech. This moment occurs when Edward (Grant), is ready to confess something to Elinor. They have spent enough time together to grow a deep feeling. He's about to say something about his… you expect the word "feeling", he says "education", and you can see something click in the blink of an eye in Thompson's face, 'devastation' as it would really show in a woman who learned to hide her feelings. There's no doubt that Emma Thompson is one of the greatest actress of her generation. On the other hand, Marianne will also face abandon and the reaction will fit her passionate personality. While, the plot in itself can be summed up by women waiting for the right men to come, so (God forbid), they don't end up as bitter spinster, there is more to enjoy, the text and more importantly, the subtext.

And on that level, Jane Austen's stories are exhilarating hymns for eloquence and literacy, whether when the characters write intimate correspondences, share their personal thoughts with their friends or relatives or try to convey a strong message by still respecting the conveniences, I just can't resist by the way Shakespeare's language is being honored. You finish the film and you just want to express your feelings with the same economy of obviousness or flamed passion when called for, and a similar urge generally invade me when I finish the Ivory and Merchant movies. There is something just irresistible in these British heritage films, they make you realize how close we still are to these times by the scale of history, but light-years ahead as far as mediocrity and plainness is concerned.And it's a credit to Austen's writing and Thompsons's rewriting (earning her an Oscar) to have translated the story in a tone that wouldn't make feminists' neck hair stand up and wouldn't portray men as misogynistic pigs.

The film says something important: the strength of your character doesn't depend on what he or she accomplishes but how it can strongly affect your own feeling or how can they resist the cruelties of life without necessarily triumphing over them. All through the film, I was totally rooting for Marianne, Elinor, their mother (Gemma Jones) and the way they endorsed or rebelled against conventions at crucial times where simpler things were complicatedly expressed. Indeed, everything that happened is due to something said, a promise or a misunderstanding. It's all in the way words are used, misused or distorted and that's one of the many delights in this lavish movie.

I saw this movie in a cinema back in 1996 and since that June I have seen it about a dozen times. It is true, that being an ardent lover of the so-called Romantic (as if the 13th century couldn't be Romantic or 17th, but these things are academic nonsense) period I can enjoy even minor pieces of period cinema, however this is most probably the best film set in the early 19th century. Although it centers on the relationship of the two sisters and their respective romantic relationships, it also seems to be a salute to the period itself in its precise description of the English country society. It is truthful to Jane Austen's novel, but Emma Thompson's script is fine in its own right, with many omissions and additions to the novel. The acting is superb, Kate Winslet as the typical Romantic dreamer (sensibility) is breathtaking (try not to be moved when her character wanders in the rain to see the house of her beloved and when she whispers half-deranged: 'Willoughby, Willoughby, Willoughby.') is perfect as is Emma Thompson as the rational but equally tormented older sister(sense). Greg Wise is perfect as the dashing semi-Byronic hero Willoughby and Allan Rickman as the mellow Brandon. To say nothing of the art direction, the music or the fantastic image composition. I would recommend everyone with some sort of emotional subtlety to see this film, for the story, the wit, the period and the imagery.

Whoever says they just don't make the quality of pictures today that they used to hasn't seen or is ignoring this film.

That Emma Thompson is one of the greatest actresses working is no secret. But who would have expected such a miracle from her in the screenwriting department? Some of the most dramatic moments in 'Sense and Sensibility' come from her pen, not Jane Austen's, difficult as that may be to believe. For instance, the scene in which Col. Brandon (Alan Rickman) carries in the ill Marianne Dashwood (Kate Winslet), echoing the earlier scene where Willoughby (Greg Wise) brought the injured young woman home was Thompson's doing. Marianne's illness also is responsible for much more drama in the movie than in the book. And I'm an Austen fan! I can't recall another writer bringing so much good of his or her own to a classic like this.

I suppose the director, cinematographer, production designer, etc. deserve to share the credit when a movie is this outstanding, but with such a super group of actors on the screen (from top to bottom) it's easy to heap all the praise on them. I had unconsciously (and unfairly) pigeonholed Alan Rickman based on the other role I'd seen him in, the villain in 'Die Hard,' so he was quite a surprise to me. The real bombshell, however, was my first exposure to Kate Winslet. After seeing this movie and Kenneth Branagh's 'Hamlet' I can say I can't remember another young actress who has impressed me so much. And she played these difficult roles by the time she was 20! Many of the other cast members are a part of an excellent group that Thompson and Branagh have often worked with in the past.

I realized that 'S&S' had become one of my all-time favorite movies when I found myself watching it every chance I got when it came on TV. I think it's bumped 'Raging Bull' off my personal top 10 list.

I haven't read the book (yet), but concerning the film as it is, I can assure you that it is very well made. You'll get one of the best period dramas (I wouldn't go all the way with "best ever", but then again, I don't often use extremes to describe a movies) that you have seen!

Of course you have to be open to this kind of movie. Meaning, that if you're more likely to watch Bruce Willis in Die Hard or can't wait for the next Steven Seagal movie, this might not be your cup of tea! There is a strong possibility that you won't like (to watch) this movie at all.

So if you have seen period dramas and like them, than watch this one too, if you haven't watched one yet, than this can be a perfect movie to start with (although some might say, it's downhills after that ;o) )

A wonderful enactment of Jane Austen's first novel from 1811, in which two sisters at the marrying age suffer from affairs of the heart. One has an inclination towards common sense and decorum (Emma Thompson), and the other, an emotional side, with great sensitivity to passion and romance (Kate Winslet). In addition to the heartbreak that comes from unrequited love and bad behavior from men, the film also makes clear the limited options women had in 19th century England, with paternalistic inheritance laws and limited employment options, something I liked about it.

The production quality is very high here, with cinematographer Michael Coulter and director Ang Lee putting beautifully composed images on the screen, the costume and set designs truly taking us back in time, and an all-star cast delivering excellent performances. Winslet and Thompson each have several fantastic moments, and the supporting players are all rock solid as well, e.g. Alan Rickman, Hugh Grant, and on down the line. (Although Hugh Grant, much as I love him, always seems to be playing Hugh Grant, hair included here).

A period drama is not one I would ordinarily leap to watching and this one certainly has its share of melodrama, but it's true to the period and the original work, so if you're looking for a great adaptation of classic literature, look no further (and oh, how I wish there were more such productions of the classics of Russian literature!). Just as importantly, though, the film drew me in from the beginning and kept up a good pace, managing to not feel overly stuffy or antiquated. Emma Thompson did a great job with the screenplay, and was worthy of the Oscar she won for it.