Director Georgia Oakley and screenwriter Diana Reid took on the sixth screen adaptation of Jane Austen’s “Sense and Sensibility” with relative inexperience. It was just Oakley’s second feature-length film and Reid’s cinematic debut, large shoes to fill considering its most recent predecessor was a 1995 Oscar nominee.
The 19th century story follows the Dashwood sisters, Elinor (Daisy Edgar-Jones) and Marrianne (Esmé Creed-Miles) as they navigate newfound love while being forced out of their Sussex mansion following the passing of their father. In eve of their exodus, the Dashwoods are introduced to Edward (George MacKay), the brother-in-law of their father’s eldest son, who inherits the home. Elinor takes a keen liking to him and instant chemistry is formed despite Edward’s modest nature.
Its intersecting narrative delves into Marrianne, who swoons for the charming Willoughby (Frank Dillane), much to the chagrin of Colonel Brandon (Herbert Nordrum), whom she finds unimpassioned. This storyline takes the brunt of the film, contrasting the level-headed Elinor with the eager and animated Marrianne.
“Sense and Sensibility” is very much a slow-burn story. The first and second acts are gradual, subtly dispersing plot points of Elinor and Edward’s relationship while allowing the wit and heartbreak of Marrianne’s dynamic love triangle to shine through.
This makes the climax at the tail end of the film feel quite abrupt, as the third act picks up the pace significantly. Edward, who was set to be married, is disinherited, which breaks his predisposed engagement. He promptly goes after Elinor, free from the shackles of his arranged marriage, and the two finally unite. A gratifying and poignant conclusion to tie together an otherwise slower-paced film.
The lead performances are the standout of the film. Edgar-Jones leads the cast, who had yet to solidify stardom following her breakout role as Marrianne the 2020 limited series “Normal People,” an adaptation of Sally Rooney’s popular novel. She brilliantly captures the internal turmoil and restraint of loving somebody seemingly unattainable, as well as the struggle of putting others happiness before oneself. MacKay shined as well, portraying the strained, standoffish persona to perfection.
An opposite yet equally as noteworthy performance, Creed-Miles was a star in her first major role. Unlike Elinor, Marrianne is an outwardly emotional character, giving way for an attention-grabbing, raw performance. Separating the heavy subject matter were lighthearted scenes and quips from side characters.
Contrary to the 1995 adaptation, Oakley paints a less romanticized picture on screen. It’s a grounded and muted depiction, while maintaining beautiful cinematography from front to back. A similar methodology was used in the 2025 film “Hamnet,” which was one of the best-received period pieces in recent memory. Both immerse the viewer into the centuries-old settings without shoving it down their throats.
It was a tall task to follow up on Ang Lee’s rendition, which was starred by the likes of Emma Thompson, Kate Winslet and Hugh Grant, but Oakley and company were nothing short of spectacular in the retelling of this ageless classic.
Verdict: “Sense and Sensibility” certainly has its target audience, but the performances and imagery in this acute, heartwarming period drama make it a worthwhile watch.
