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Rating:  -
In general, I avoid movie adaptations of novels I enjoy, because often they're too Hollywood-ised (the most recent version of P&P with Knightley, or Lord of the Rings), though I make exceptions for Austen adaptations and others I feel I perhaps can count on. After reading reviews on this version about how it was vastly superior to all the others, and it was so much more faithful, I was very excited. But this BBC version is just difficult to sit through.
As others have said, Tracy Childs (Marianne), Irene Richards (Elinor), and Bosco Hogan (Edward) are thoroughly bad actors. The dynamic romance between Marianne and Willoughby is subdued and I don't see what at all is dashing about Peter Woodward as Willoughby. Marianne's supposed passion for life becomes juvenile whiny teenaged angst (she might have been the one to inspire the current emo trend), while Irene Richards's Elinor seems to be reading from a teleprompter. Even her smiles are unconvincing, being rather watery and disconnected. I am not sure if it is that she is trying too hard, or not trying hard enough, but she certainly is not an appealing Elinor.
The little chemistry that appears in this film centres around the few actors whom I appreciate. Diana Fairfax was wonderful as Mrs. Dashwood, and I quite liked Amanda Boxer's portrayal as Fanny--very well done.
As others have said, the set and lighting are less than desirable, but that is excusable considering budget constraints. But it should not be so difficult to find good actors when so many are in want of good roles! All-in-all, this film may (on paper) be more true to Jane Austen's literal written word, but as others have said, the spirit is lost. Even the lines the actors recite seem contrived and cliche at times, and very stiff, almost like a Hemingway book. Ugh.
Rating:  -
I found this version listless and uninteresting overall. Tracy Childs overacted badly as a hysterical Marianne. Bosco Hogan was depressed and lackluster as Edward. Robert Swann had nothing to offer in looks, demeanor, or chemistry that could ultimately win over a damsel of 17, in spite of his righteousness. Donald Douglas was a ridiculous caricature as Sir John Middleton. Tracy Child's performance as Elinor Dashwood was uneven, varying from good to overwrought. The direction was poor, and the writing was below par.
There were a few worthwhile performances. Diana Fairfax was a spirited Mrs. Dashwood, and Annie Leon found the right tone for Mrs. Jennings. Amanda Boxer made a superb Fanny Dashwood. It is a shame they did not find a better vehicle to support their effort.
Rating:  -
Many commentators have duly chastised this 1981 BBC production for being less a film than merely a filmed book, and consequently clumsy in chosen images, while also dull in pacing and rhythm. What works on the written page clearly does not always transfer successfully unless suitable adjustments have been made to the requirements of a different medium. I'd agree that this version of Austen's novel is ultimately one better listened to than watched. At the same time, it has merits lacking in both the Emma Thompson and more recent Andrew Davies versions. Both of these last, for my money, were far too amiable in their vision, so that Jane Austen tends to emerge in them as a gentle-hearted chronicler of Regency order rather than a shrewd, even lethal social satirist.
No less a worthy than E.M.Forster is on record as saying Austen showed him the possibilities of deadly domestic humor. And indeed in "Sense and Sensibility" the bores and mean-spirited types among the country gentry are captured for all time, like insects in amber. This adaptation of the novel is truer than others to Austen's insights here. Dinner parties and card-playing scenes are punctuated by superlatively stupid or just plain snobbish comments from the due recipients of Austen's irony. And Lucy Steele, for instance, emerges not as a potentially sympathetic fiancee of Edward's, but as in the novel a pretty mean inquisitor who adds to Elinor's private sufferings.
The final encounter of Willoughby and Elinor is included here, as in the
Davies version, but the dialogue in this version is truer to the complex moral response of the novel. In Davies, Willoughby remains pretty much just a nasty fellow to a suddenly one-dimensional, priggish Elinor and an unnecessarily appearing Marianne. The Thompson and Davies versions, of course, have their merits, and as films clearly surpass this production in technical aspects. Still, short of rereading the novel, Austen's readers can gain much from this version.
Rating: -
This adaptation would be beloved of those people who loved the book. Both Marianne and Elinor are younger and look more the parts than the movie version (Emma Thompson and Kate Winslet both too old in my opinion). Because there is more time, this adaptation gives more room to many of the circumstances that help define the characters' characters. Yet it is not entirely faithful to the book. The little sister is not even included, but her absence does not detract from the story.
I like this version much better than the movie, even though I do like the movie, I just like this version better.
People who have not read the book might find this somewhat boring though. I say might because I had practically memorized the book when I saw it so I don't know how someone who hasn't read the book would respond.
I definitely think that the length of this interpretation helps explain much that was left vague in the movie.
Rating:  -
Probably the best production of Jane Austen's novels. Thoroghly enjoyable and absorbing. Just a great presentation!
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