Sense and Sensibility (1995 film)

When Henry Dashwood dies, his wife and three daughters — Elinor, Marianne and Margaret — are left with an inheritance of only £500 a year. The bulk of his estate, Norland Park, is left to his son, John, from his first marriage. John and his greedy, snobbish wife Fanny immediately install themselves in the large house; Fanny invites her brother, Edward Ferrars, to stay with them. She frets about the budding friendship between Edward and Elinor, believing he can do better, and does everything she can to prevent it from developing into a romantic attachment. Sir John Middleton, a cousin of the widowed Mrs. Dashwood, offers her a small cottage house on his estate, Barton Park in Devonshire. She and her daughters move in and are frequent guests at Barton Park. Marianne meets the older Colonel Brandon, who falls in love with her at first sight. Competing for her affections is the dashing John Willoughby, with whom she falls in love. Later one morning she expects him to propose marriage to her, but he instead leaves hurriedly for London. Sir John's mother-in-law, Mrs. Jennings, invites her daughter and son-in-law, Mr. and Mrs. Palmer, to visit. They bring with them the impoverished Lucy Steele. Lucy confides in Elinor that she and Edward have been engaged secretly for five years, thus dashing Elinor's hopes of a future with him. Mrs. Jennings takes Lucy, Elinor, and Marianne to London, where they meet Willoughby at a ball. He barely acknowledges their acquaintance, and they learn he has become engaged to the extremely wealthy Miss Grey. Marianne is inconsolable. Colonel Brandon then reveals that his ward Beth, illegitimate daughter of his former love Eliza, is pregnant with Willoughby's child and was abandoned by him; Willoughby's aunt, Lady Allen, had disinherited him upon discovering this. The engagement of Edward and Lucy also comes to light. Edward's mother demands that he break it off. When he honorably refuses, his fortune is taken from him and given to his younger brother, Robert. On their way home to Devonshire, Elinor and Marianne stop for the night at the country estate of the Palmers, who live near Willoughby. Marianne cannot resist going to see Willoughby's estate and walks a long way in torrential rain to do so. As a result, she becomes seriously ill and is nursed back to health by Elinor after being rescued by Colonel Brandon. After Marianne recovers, the sisters return home. They learn that Lucy has become Mrs. Ferrars and assume that she married Edward. However, Edward arrives to explain that Lucy has in fact wed his now-wealthy brother Robert, and Edward is thus released from his engagement. Edward proposes to Elinor and becomes a vicar, while Marianne marries Colonel Brandon. == Cast ==

• Emma Thompson as Elinor Dashwood • Hugh Grant as Edward Ferrars • Kate Winslet as Marianne Dashwood • Alan Rickman as Colonel Brandon • Imogen Stubbs as Lucy Steele • Greg Wise as John Willoughby • Gemma Jones as Mrs. Dashwood • Harriet Walter as Fanny Dashwood • James Fleet as John Dashwood • Hugh Laurie as Mr. Palmer • Imelda Staunton as Charlotte Palmer • Robert Hardy as Sir John Middleton • Elizabeth Spriggs as Mrs. Jennings • Tom Wilkinson as Mr. Dashwood • Emilie François as Margaret Dashwood • Richard Lumsden as Robert Ferrars == Production ==

Conception and adaptation In 1989, Lindsay Doran, a producer of production company Mirage Enterprises, was on a company retreat brainstorming potential film ideas when she suggested the Jane Austen novel Sense and Sensibility to her colleagues. She also praised the novel for possessing "wonderful characters ... three strong love stories, surprising plot twists, good jokes, relevant themes, and a heart-stopping ending." Prior to being hired at Mirage, the producer had spent years looking for a suitable screenwriter – someone who was "equally strong in the areas of satire and romance" and could think in Austen's language "almost as naturally as he or she could think in the language of the twentieth century". Doran read screenplays by English and American writers until she came across a series of comedic skits, often in period settings, that actress Emma Thompson had written. Doran believed the humour and style of writing was "exactly what [she'd] been searching for". Thompson and Doran were already working together on Mirage's 1991 film Dead Again. A week after its completion, the producer selected Thompson to adapt Sense and Sensibility, The actress found that Sense and Sensibility contained more action than she had remembered and decided it would translate well to drama. worked on the Sense and Sensibility screenplay for five years. Thompson spent five years writing and revising the screenplay, both during and between shooting other films. Believing the novel's language to be "far more arcane than in [Austen's] later books," Thompson sought to simplify the dialogue while retaining the "elegance and wit of the original." She observed that in a screenwriting process, a first draft often had "a lot of good stuff in it" but needed to be edited, and second drafts would "almost certainly be rubbish ... because you get into a panic". Thompson credited Doran that she could "help me, nourish me and mentor me through that process ... I learned about screenwriting at her feet". Thompson's first draft was more than three hundred handwritten pages, which required her to reduce it to a more manageable length. She found the romances to be the most difficult to "juggle", Lee's hire Taiwanese director Ang Lee was hired as a result of his work in the 1993 family comedy film The Wedding Banquet, which he co-wrote, produced, and directed. He was not familiar with Jane Austen. Doran felt that Lee's films, which depicted complex family relationships amidst a social comedy context, were a good fit with Austen's storylines. From the beginning, Doran wanted Sense and Sensibility to appeal to both a core audience of Austen aficionados as well as younger viewers attracted to romantic comedy films. She felt that Lee's involvement prevented the film from becoming "just some little English movie" that appealed only to local audiences instead of to the wider world. Lee said, I thought they were crazy: I was brought up in Taiwan, what do I know about 19th-century England? About halfway through the script it started to make sense why they chose me. In my films I've been trying to mix social satire and family drama. I realised that all along I had been trying to do Jane Austen without knowing it. Jane Austen was my destiny. I just had to overcome the cultural barrier. In January 1995, Thompson presented a draft to Lee, Doran, co-producer Laurie Borg, and others working on the production, and spent the next two months editing the screenplay based upon their feedback. Thompson continued making revisions throughout production of the film, including altering scenes to meet budgetary concerns, adding dialogue changes, and changing certain aspects to better fit the actors. Brandon's confession scene, for instance, initially included flashbacks and stylised imagery before Thompson decided it was "emotionally more interesting to let Brandon tell the story himself and find it difficult". Casting , who had worked with Thompson in several films, was her first choice to play Edward Ferrars. Thompson agreed, later stating that she was "desperate to get into a corset and act it and stop thinking about it as a script." Thompson has said, "There is no one [else] on the planet who could capture Mr. Palmer's disenchantment and redemption so perfectly, and make it funny." Thompson wrote the part of Edward Ferrars with Grant in mind, and he agreed to receive a lower salary in line with the film's budget. Grant's casting was criticised by the Jane Austen Society of North America (JASNA), whose representatives said that he was too handsome for the part. Twelve-year-old Emilie François, appearing as Margaret Dashwood, was one of the last people cast in the production; she had no professional acting experience. Thompson praised the young actress in her production diaries, "Emilie has a natural quick intelligence that informs every movement – she creates spontaneity in all of us just by being there." Other cast members included Gemma Jones as Mrs. Dashwood, James Fleet as John Dashwood, Elizabeth Spriggs as Mrs. Jennings, Imogen Stubbs as Lucy Steele, Richard Lumsden as Robert Ferrars, Tom Wilkinson as Mr. Dashwood, and Lone Vidahl as Miss Grey. Costume design According to Austen scholar Linda Troost, the costumes used in Sense and Sensibility helped emphasise the class and status of the various characters, particularly among the Dashwoods. They were created by Jenny Beavan and John Bright, a team of designers best known for Merchant Ivory films who began working together in 1984. The two attempted to create accurate period dress, and featured the "fuller, classical look and colours of the late 18th century." They found inspiration in the works of the English artists Thomas Rowlandson, John Hopper, and George Romney, and also reviewed fashion plates stored in the Victoria and Albert Museum. Beavan stated that Fanny and Mrs. Jennings "couldn't quite give up the frills," and instead draped themselves in lace, fur, feathers, jewellery, and rich fabrics. Filming 's first feature film outside of Asia. The film was budgeted at $16 million, The cast and crew experienced "slight culture shock" with Lee on a number of occasions. He expected the assistant directors to be the "tough ones" and keep production on schedule, while they expected the same of him; this led to a slower schedule in the early stages of production. Additionally, according to Thompson, the director became "deeply hurt and confused" when she and Grant made suggestions for certain scenes, which was something that was not done in his native country. He often had the cast do numerous takes for a scene to get the perfect shot, Lee had one demand for the scene, that Thompson avoid the temptation to turn her head towards the camera. where Winslet and Jones shot the first scene of the production: when their characters read about Barton Cottage. As Saltram was a National Trust property, Schamus had to sign a contract before production began, and staff with the organisation remained on set to carefully monitor the filming. Production later returned to shoot several more scenes, finishing there on 29 April. The second location of filming, Flete House, stood in for part of Mrs. Jennings' London estate, where Edward first sees Elinor with Lucy. Representing Barton Cottage was a Flete Estate stone cottage called Efford House in Holbeton, which Thompson called "one of the most beautiful spots we've ever seen." Early May saw production at the "exquisite" St Mary's Church in Berry Pomeroy for the final wedding scene. From the tenth to the twelfth of May, Marianne's first rescue sequence, depicting her encounter with Willoughby, was shot. Logistics were difficult, as the scene was set upon a hill during a rainy day. Lee shot around fifty takes, with the actors becoming soaked under rain machines; this led to Winslet eventually collapsing from hypothermia. Further problems occurred midway through filming, when Winslet contracted phlebitis in her leg, developed a limp, and sprained her wrist after falling down a staircase. From May to July, production took place at a number of other National Trust estates and stately homes across England. Trafalgar House and Wilton House in Wiltshire stood in for the grounds of Barton Park and the London Ballroom respectively. Mompesson House, an eighteenth-century townhouse located in Salisbury, represented Mrs. Jennings' sumptuous townhouse. Sixteenth-century Montacute House in Somerset was the setting for the Palmer estate of Cleveland House. Further scenes were shot at Compton Castle in Devon (Mr Willoughby's estate) and at the National Maritime Museum in Greenwich. Music Composer Patrick Doyle, who had previously worked with his friend Emma Thompson in the films Henry V, Much Ado About Nothing, and Dead Again, was hired to produce the music for Sense and Sensibility. He explained, "You had this middle-class English motif, and with the music you would have occasional outbursts of emotion." Doyle explains that the score "becomes a little more grown-up" as the story progresses to one of "maturity and an emotional catharsis." and has been described by National Public Radio as a "restricted compass ... of emotion" with "instruments [that] blend together in a gentle sort of way". They also noted that as a reflection of the story, the score is a "little wistful ... and sentimental." The composer received his first Academy Award nomination for his score. == Themes and analysis ==

Changes from source material Scholar Louise Flavin has noted that Thompson's screenplay contains significant alterations to the characters of Elinor and Marianne Dashwood: in the novel, Elinor embodies "sense", i.e. "sensible" in our terms, and Marianne, "sensibility", i.e. "sensitivity" in our terms. Audience members are meant to view self-restrained Elinor as the person in need of reform, rather than her impassioned sister. To heighten the contrast between them, Marianne and Willoughby's relationship includes an "erotic" invented scene in which he requests a lock of her hair – a direct contrast to Elinor's "reserved relationship" with Edward. Lee also distinguishes them through imagery – Marianne is often seen with musical instruments, near open windows, and outside, while Elinor is pictured in door frames. Another character altered for modern viewers is Margaret Dashwood, who conveys "the frustrations that a girl of our times might feel at the limitations facing her as a woman in the early nineteenth century." Thompson uses Margaret for exposition in order to detail contemporary attitudes and customs. For instance, Elinor explains to a curious Margaret – and by extension, the audience – why their half-brother inherits the Dashwood estate. Margaret's altered storyline, giving her an interest in fencing and geography, also allows audience members to see the "feminine" side of Edward and Brandon, as they become father or brother figures to her. The film omits the characters of Lady Middleton and her children, as well as that of Ann Steele, Lucy's sister. When adapting the characters for film, Thompson found that in the novel, "Edward and Brandon are quite shadowy and absent for long periods," and that "making the male characters effective was one of the biggest problems. Willoughby is really the only male who springs out in three dimensions." Several major male characters in Sense and Sensibility were consequently altered significantly from the novel in an effort to appeal to contemporary audiences. Grant's Edward and Rickman's Brandon are "ideal" modern males who display an obvious love of children as well as "pleasing manners", especially when contrasted with Palmer. Thompson's script both expanded and omitted scenes from Edward's storyline, including the deletion of an early scene in which Elinor assumes that a lock of hair found in Edward's possession is hers, when it belongs to Lucy. He was made more fully realised and honourable than in the novel to increase his appeal to viewers. To gradually show viewers why Brandon is worthy of Marianne's love, Thompson's screenplay has his storyline mirroring Willoughby's; they are similar in appearance, share a love of music and poetry, and rescue Marianne in the rain while on horseback. Class Thompson viewed the novel as a story of "love and money," noting that some people needed one more than the other. During the writing process, executive producer Sydney Pollack stressed that the film be understandable to modern audiences, and that it be made clear why the Dashwood sisters could not just obtain a job. "I'm from Indiana; if I get it, everyone gets it," he said. Thompson believed that Austen was just as comprehensible in a different century, "You don't think people are still concerned with marriage, money, romance, finding a partner?" She was keen to emphasise the realism of the Dashwoods' predicament in her screenplay, and inserted scenes to make the differences in wealth more apparent to modern audiences. Thompson made the Dashwood family richer than in the book and added elements to help contrast their early wealth with their later financial predicament; for instance, because it might have been confusing to viewers that one could be poor and still have servants, Elinor is made to address a large group of servants at Norland Park early in the film for viewers to remember when they see their few staff at Barton Cottage. Lee also sought to emphasise social class and the limitations it placed on the protagonists. Lee conveys this in part when Willoughby publicly rejects Marianne; he returns to a more lavishly furnished room, a symbol of the wealth she has lost. "Family dramas," he stated, "are all about conflict, about family obligations versus free will." The film's theme of class has attracted much scholarly attention. Carole Dole noted that class constitutes an important element in Austen's stories and is "impossible" to avoid when adapting her novels. According to Dole, Lee's film contains an "ambiguous treatment of class values" that stresses social differences but "underplays the consequences of the class distinctions so important in the novel"; for instance, Edward's story ends upon his proposal to Elinor, with no attention paid to how they will live on his small annual income from the vicarage. Louise Flavin believed that Lee used the houses to represent their occupants' class and character: the Dashwood sisters' decline in eligibility is represented through the contrast between the spacious rooms of Norland Park and those of the isolated, cramped Barton Cottage. James Thompson criticised what he described as the anaesthetised "mélange of disconnected picture postcard-gift-calendar-perfect scenes," in which little connection is made between "individual subjects and the land that supports them." Andrew Higson argued that while Sense and Sensibility includes commentary on sex and gender, it fails to pursue issues of class. Thompson's script, he wrote, displays a "sense of impoverishment [but is] confined to the still privileged lifestyle of the disinherited Dashwoods. The broader class system is pretty much taken for granted." The ending visual image of flying gold coins, depicted during Marianne's wedding, has also drawn attention; Marsha McCreadie noted that it serves as a "visual wrap-up and emblem of the merger between money and marriage." Gender Gender has been seen as another major theme of the film, often intersecting with class. Penny Gay observed that Elinor's early dialogue with Edward about "feel[ing] idle and useless ... [with] no hope whatsoever of any occupation" reflected Thompson's background as a "middle class, Cambridge-educated feminist." Conversely, Dole wrote that Thompson's version of Elinor "has a surprising anti-feminist element to it," as she appears more dependent on men than the original character; the film presents her as repressed, resulting in her emotional breakdown with Edward. Linda Troost opined that Lee's production prominently features "radical feminist and economic issues" while "paradoxically endorsing the conservative concept of marriage as a woman's goal in life." Despite this "mixed political agenda," Troost believed that the film's faithfulness to the traditional heritage film genre is evident through its use of locations, costumes, and attention to details, all of which also emphasize class and status. Gay and Julianne Pidduck stated that gender differences are expressed by showing the female characters indoors, while their male counterparts are depicted outside confidently moving throughout the countryside. Nora Stovel observed that Thompson "emphasises Austen's feminist satire on Regency gender economics," drawing attention not only to the financial plight of the Dashwoods but also to eighteenth-century women in general. == Marketing and release ==

In the United States, Sony and Columbia Pictures released Sense and Sensibility on a slow schedule compared to mainstream films, first premiering it on 13 December 1995. Believing that a limited release would both position the film as an "exclusive quality picture" and increase its chances of winning Academy Awards, Columbia dictated that its first weekend involve only seventy cinemas in the US; it opened in eleventh place in terms of box office takings and earned $721,341. To benefit from the publicity surrounding potential Academy Award candidates and increase its chance of earning nominations, the film was released within "Oscar season". The number of theatres showing Sense and Sensibility was slowly expanded, with particular surges when its seven Oscar nominations were announced and at the time of the ceremony in late March, until it was present in over one thousand cinemas across the US. By the end of its American release, Sense and Sensibility had been watched by more than eight million people, garnering an "impressive" total domestic gross of $43,182,776. On the basis of Austen's reputation as a serious author, the producers were able to rely on high-brow publications to help market their film. Near the time of its US release, large spreads in The New York Review of Books, Vanity Fair, Film Comment, and other media outlets featured columns on Lee's production. In late December, Time magazine declared it and Persuasion to be the best films of 1995. Andrew Higson referred to all this media exposure as a "marketing coup" because it meant the film "was reaching one of its target audiences." Meanwhile, most promotional images featured the film as a "sort of chick flick in period garb." New Market Press published Thompson's screenplay and film diary; in its first printing, the hard cover edition sold 28,500 copies in the US. British publisher Bloomsbury released a paperback edition of the novel containing film pictures, same title design, and the cast's names on the cover, while Signet Publishing in the US printed 250,000 copies instead of the typical 10,000 a year; actress Julie Christie read the novel in an audiobook released by Penguin Audiobooks. Sense and Sensibility increased dramatically in terms of its book sales, ultimately hitting tenth place on The New York Times Best Seller list for paperbacks in February 1996. In the United Kingdom, Sense and Sensibility was released on 23 February 1996 in order to "take advantage of the hype from Pride and Prejudice", another popular Austen adaptation recently broadcast. Columbia Tristar's head of UK marketing noted that "if there was any territory this film was going to work, it was in the UK." After receiving positive responses at previews, marketing strategies focused on selling it as both a costume drama and as a film attractive to mainstream audiences. Attention was also paid to marketing Sense and Sensibility internationally. Because the entire production cycle had consistently emphasised it as being "bigger" than a normal British period drama literary film, distributors avoided labelling it as "just another English period film." Instead, marketing materials featured quotations from populist newspapers such as the Daily Mail, which compared the film to Four Weddings and a Funeral (1994). It opened in the UK on 102 screens and grossed £629,152 in its opening weekend, placing fourth at the box office. It went on to gross £13,605,627 in the UK, the seventh highest-grossing film for the year. It was watched by more than ten million viewers in Europe. Worldwide, the film ultimately grossed $134,582,776, Internationally, it was given a limited release in North America from December 14, 16–17, 2025. == Reception ==

Critical response Sense and Sensibility received widespread critical acclaim, and was included on more than a hundred top-ten-of-the-year lists. On Metacritic, the film has an average score of 84 out of 100 based on 21 reviews, indicating "universal acclaim". Audiences polled by CinemaScore gave the film a grade "A" on scale of A to F. Writing for Variety magazine, Todd McCarthy observed that the film's success was assisted by its "highly skilled cast of actors", as well as its choice of Lee as director. McCarthy clarified, "Although [Lee's] previously revealed talents for dramatizing conflicting social and generational traditions will no doubt be noted, Lee's achievement here with such foreign material is simply well beyond what anyone could have expected and may well be posited as the cinematic equivalent of Kazuo Ishiguro writing The Remains of the Day." Mick LaSalle of the San Francisco Chronicle lauded the film for containing a sense of urgency "that keeps the pedestrian problems of an unremarkable 18th century family immediate and personal." LaSalle concluded that the adaptation has a "right balance of irony and warmth. The result is a film of great understanding and emotional clarity, filmed with an elegance that never calls attention to itself." Maslin wrote, Grant "rises touchingly to the film's most straightforward and meaningful encounters." Jay Carr of The Boston Globe thought that Lee "nail[ed] Austen's acute social observation and tangy satire," and viewed Thompson and Winslet's age discrepancy as a positive element that helped feed the dichotomy of sense and sensibility. The Radio Times David Parkinson was equally appreciative of Lee's direction, writing that he "avoid[s] the chocolate-box visuals that cheapen so many British costume dramas" and "brings a refreshing period realism to the tale of two sisters that allows Emma Thompson's respectful Oscar-winning script to flourish." making her the only person to have won an Oscar for both her writing and acting (Thompson won the Best Actress award for Howards End, in 1993). The film also was the recipient of twelve nominations at the 49th British Academy Film Awards, including Best Film, Best Actress in a Leading Role (for Thompson), and Best Actress in a Supporting Role (for Winslet). In addition, the film won the Golden Bear at the 46th Berlin International Film Festival, making Lee the first director to win this twice. Despite the recognition given to the film, Lee was not nominated for the Academy Award for Best Director (though he was nominated for the Golden Globe, the BAFTA and the Directors Guild Award). The scholar Shu-mei Shih and the journalist Clarence Page have attributed this snub to Hollywood's racism against Lee, and Chinese cinema in general. Lee sought to avoid turning his omission into a controversy, asking the Taiwan state media not to make it a "national issue", explaining that he endured more pressure when forced to act as his country's representative. == Legacy and influence ==

Following the theatrical release of Persuasion by a few months, Sense and Sensibility was one of the first English-language period adaptations of an Austen novel to be released in cinemas in over fifty years, the previous being the 1940 film Pride and Prejudice. The year 1995 saw a resurgence of popularity for Austen's works, as Sense and Sensibility and the serial Pride and Prejudice both rocketed to critical and financial success. The two adaptations helped draw more attention to the previously little-known 1995 television film Persuasion, and led to additional Austen adaptations in the following years. In 1995 and 1996, six Austen adaptations were released onto film or television. The filming of these productions led to a surge in popularity of many of the landmarks and locations depicted; according to the scholar Sue Parrill, they became "instant meccas for viewers." When Sense and Sensibility was released in cinemas in the US, Town & Country published a six-page article entitled "Jane Austen's England", which focused on the landscape and sites shown in the film. A press book released by the studio, as well as Thompson's published screenplay and diaries, listed all the filming locations and helped to boost tourism. Saltram House for instance was carefully promoted during the film's release, and saw a 57 percent increase in attendance. In 1996, JASNA's membership increased by fifty percent. The popularity of both Sense and Sensibility and Pride and Prejudice led to the BBC and ITV releasing their Austen adaptations from the 1970s and 1980s onto DVD. As the mid-1990s included adaptations of four Austen novels, there were few other of her works to adapt. Andrew Higson argues that this resulted in a "variety of successors" in the genres of romantic comedy and costume drama, as well as with films featuring strong female characters. Cited examples include Mrs Dalloway (1997), Mrs. Brown (1997), Shakespeare in Love (1998), and ''Bridget Jones's Diary (2001). In 2008, Andrew Davies, the screenwriter of Pride and Prejudice, adapted Sense and Sensibility'' for television. As a reaction to what he said was Lee's overly "sentimental" film, this production features events found in the novel but excluded from Thompson's screenplay, such as Willoughby's seduction of Eliza and his duel with Brandon. It also features actors closer to the ages in the source material. Sense and Sensibility has maintained its popularity into the twenty-first century. In 2004, Louise Flavin referred to the 1995 film as "the most popular of the Austen film adaptations," and in 2008, The Independent ranked it as the third-best Austen adaptation of all time, opining that Lee "offered an acute outsider's insight into Austen in this compelling 1995 interpretation of the book [and] Emma Thompson delivered a charming turn as the older, wiser, Dashwood sister, Elinor." Journalist Zoe Williams credits Thompson as the person most responsible for Austen's popularity, explaining in 2007 that Sense and Sensibility "is the definitive Austen film and that's largely down to her." In 2011, The Guardian film critic Paul Laity named it his favourite film of all time, partly because of its "exceptional screenplay, crisply and skilfully done." Devoney Looser reflected on the film in The Atlantic on the 20th anniversary of its release, arguing that the film served as "a turning point" for "pro-feminist masculinity" in Austen adaptations. == See also ==