Tag: Charity Wakefield

Jane Austen: Sense Or Sensibility?

With PBS Masterpiece Classic broadcsting Sense and Sensibility (2008 ) again on Feb 1 and 8, it’s good time to muse on the question:  Which Austen heroine was Jane herself most like?  You can see the poll on my side bar, and the results so far. 

As you watch Sense and Sensibility once again, look closer at Elinor and Marianne.  Mind you, if you have a chance, watch the 1995 movie too, then you’d appreciate Emma Thompson and Kate Winslet in bringing out the differences between sense and sensibility even more clearly I think.

No doubt, we all like to perceive Jane herself as the very source that had inspired the creation of our all time heroine, Elizabeth Bennet of Pride and Prejudice, intelligent, witty, self-assured, sharp in her critique of social norms, and brave enough to challenge, and diverge.  She dominates our popular votes here with a 44% lead… so far.

But Anne Elliot of Persuasion is also a popular choice, mature, patient and wise.  The silent lover is a strong second with 23%.

magrittes-le-blanc-seing

After reading the biographies of Jane, knowing how she had loved the burlesque and to play a part in the family’s performances, how openly she had engaged in activities with her brothers and the student boarders in her home, how she had  written satires while still a youngster, how critical she could be, and above all, upon my reading Claire Tomalin’s incisive analysis of Jane’s relationship with her older sister Cassandra, I tend to lean toward a very unpopular choice. 

I think Jane by nature was more like Marianne Dashwood, passionate, spontaneous, expressive and bold.  It’s Cassandra, like Elinor, who reminded her to rein in her emotions, to keep her skepticism in check, and to help her fit into a world that was not ready for a female like her.  Have you wondered why Cassandra needed to burn so many of Jane’s letters to her after Jane’s death?

Is it sense and sensibility we’re talking about here, or rather nature and nurture? 

No matter.  It’s best that our favorite writer remains an enigma.  But, if you have to choose, thinking back to all the Austen heroines in her six novels, who do you think Jane resembled the most?

Cast your vote and let Janeites decide.

To read my review of Sense and Sensibility (2008, TV), Part 1, Click here.

Click here for Part 2.

 

*****  

Sense and Sensibility (2008 TV): Part 2

Even though the last kiss in the movie goes to Elinor and Edward, I feel this second part of Sense and Sensibility belongs to Marianne and Colonel Brandon.  Indeed, David Morrissey’s Colonel Brandon has been the leading man and Charity Wakefield’s Marianne shines.  Their lines even bring back some epic images of a past Austen adaptation.  Just dwell on them again:

Marianne: My feelings for him has changed so much…I love him.

Elinor: Then I am happy for you.

Words of endearment reminiscent of Davis’ adaptation of Pride and Prejudice (1995)…flashback to Lizzy’s response to Darcy’s second proposal, and as she explains to her unbelieving father of her accepting it, and of course, Mr. Bennet’s loving consent upon hearing her declaration of love for Darcy.  As for the imaginary scene of the fencing duel?  Isn’t that just reminds us of Darcy’s own struggle?  Further … isn’t it true that such an improvised addition could work just as well with Darcy and Wickham too?

I think we have seen enough Davis adaptations to not be surprised by his interpretive visions…not authentically out of Austen’s book, but effective just the same … and we forgive him yet again.

Indeed, not only the fencing duel, which is nicely shot, mesmerizing and dream-like, but all the scenes we see in this new version that are Davis’ own imagination are all quite effective, thanks also to the excellent camerawork and cinematography.  Scenes such as Brandon’s gentle touch of Marianne’s hand as she lay ill in her bed, the invitation to his own library and leaving Marianne to the privacy of her own enjoyment of the pianoforte, to the taming of the falcon, all vividly depict Brandon’s patient and quiet yearning for her.  And Marianne, even though by nature a free-spirited creature like the falcon, would eventually fly back and rest on the arm of the one who beckons her with his steadfast love.  Davis’ imaginary scenes are most effective in portraying Marianne’s turnaround.

There are some very moving moments for Elinor too.  Desperately seeking solitude in her silent suffering, Elinor finds shelter in a cave by the seaside.  The camera’s point of view from inside the cave looking out, framing her silhouette against a tumultuous ocean, a stunning vision.  Or, when she sits on a bench, again alone, facing the wide open sea, waiting, doubting, or just plain accepting… Our hearts pour out to her, and yet, it is Elinor’s perseverance that has won us over, not sentimentality.  Now that is authentic Austen.

At the end, as Edward enters the Dashwood cottage to propose to Elinor, the slightly shaky camerawork is most effective in depicting the agitated anticipation of both lovers, for Edward, the nervous uncertainty of his reception, and for Elinor, the restless suspense and later unpredictable euphoria….kudos to the screenwriter, director, and cinematographer.

The Welsh filmmaker Peter Greenaway once made a controversial remark criticising film versions of literary work as mere “illustrated books”.  Regarding Jane Austen’s work, he said:

“Cinema is predicated on the 19th century novel.  We’re still illustrating Jane Austen novels–there are 41 films of Jane Austen novels in the world.  What a waste of time.”

(Click here for the Wales news article containing the above quote.)

To which I respond:  The visual can powerfully bring out the essence of the literary.  A good film adaptation is more than illustration of printed words, but an inspiring visual narrative.  At best, it can offer an interpretive vision and a new perspective to a timeless piece of writing.

The present adaptation is a vivid example.

******

Click here to go back to Sense and Sensibility Part 1.

Don’t forget to vote in the Poll on the sidebar, Which Austen heroine do you think Jane was most like?

******