We are all well aware that Jane Austen was enthralled with contrast. Many essays and scholars have written about the value and virtues of contrast in her works, but it is time and distance in her stories that is why her stories work so well. Time and distance make the contrast bloom. Time for love to formulate and distance to prove it. Contrast can’t blossom without the stirring of time and distance and Jane Austen knew it. man did she. Her characters have to go through the crucible to understand what she already knew. Which is why Austen with her first book gave us such a contradicting title using contrast but injecting time and distance. The title “Sense and Sensibility”  might very well be about Elinor and her sister Marianne exclusively, or it could be about all that is in it. The ambiguity is what sustains, it is up for debate. 

It is an over pouring of all three, time, distance and contrast in this story why it works. The houses, the people, the goals, the ambitions and of course reasons all go through change and differences. Transition is the result but not what is being conveyed, it is the lens of time, distance, and contrast. But where the story excels is not in the costume or exterior, the contrast flourishes best in the dialogue. Fans know it is the dialogue where Austen eclipses others, the costumes come a close second, namely because of the time it is in. “Sense and Sensibility” is about transitions while-yep while maintaining the contrast.  Happily the makers of this film knew that and kept it. The result is enthralling captivating adaptation.

A sidenote to this film- the abundance of dogs in this was a rather enchanting feature. I counted well over thirty dogs in it. There must have been an equal number of dog wranglers on set than cast members at any time. 

This new version draws a darker, more gothic tone to any other. Not fully clasping gothic but more like peppering it in a little. The chalky prism of color of the nineties version is saturated and the lighting harsher. But still it does not stray away from the playfulness of the story, but knowing underneath is foreboding possibility that neither of the sisters has prospects and must seek to gain some, and love should be an afterthought but is not Elinor and Marianne. A loving, enduring marriage or no marriage. Outrageous thinking for that  time The casting and costuming are sensational. The production design and locations are remarkable and outstanding visuals. It is full of cinema and scenes full and rich. It is a condensed version and to some fans of the book and film it might feel rushed. But the correct casting of this wins out. There will be some accolades of Oscar nominations to come its way. The acting is outstanding although a long shot for individual notoriety, but a recognition of the cast ensemble wouldn’t be a surprise. 

It will be difficult to know if this will be in the future the new fans favorite adaption or surpass the nineties version. I surmise it will. It’s faithful and new. Although condensed, and omitted much from the book it retains all that what people adore from it. It’s wit, it’s charm and it’s aesthetic. The film doesn’t shy from its infusion of dramatization. Crying in the rain goes very well in a story like this and its consequences. It’s aware of what it is and it thrives knowing it.  “Sense and Sensibility” is about contrast, but more importantly- and an always overlooked feature of the story how to combat boredom 8.5/10