shallowness (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
shallowness) wrote2025-06-29 03:52 pm
shallowness) wrote2025-06-29 03:52 pm
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Sense and Sensibility (1971) 3/4
I chose to watch this over other shoes because I had a cold.
This is the one where everyone ships Elinor and Colonel Brandon, except Marianne who ships Elinor/Edward, and only Elinor and we know all. Or the morning after the ball to Brandon asking Elinor to offer Edward a job and a means of marrying Lucy.
When Marianne was depressed on a bed was the best, because she was quiet. Austen’s satire of John Dashwood and the Mammon-worshipping snooty Ferrars came through (presumably Edward’s dad was all right and he got it from him?) As did the vulgarity of the Steeles and, yes, Mrs Jennings, but Patrica Routledge's performance was the best.
As Brandon disclosed (this version of) the tale of his ward’s woe thanks to Willoughby, I was struck anew by the fact that Marianne is basically the same age as his ward, just as prone to Willoughby (but better protected because she had a sister and mother around, and was maybe more ‘let’s talk poetry’ than make out.) I never take the step of shipping Elinor and Brandon, although they interact so much, but I do have some qualms about Brandon/Marianne (and devoutly hope they had at least one daughter who put them through the teenage years. Am also curious as to whether Marianne would ever meet her niece by marriage and how awkward that would be. This applies in all versions.)
So, much exquisite embarrassment for Elinor to suffer, some of it over her champions' praise for the fireguard, some of it over her half brother totally not standing up for her and taking the side of the spiteful Ferrars, all unknowing the truth about Lucy Steele. Worse yet, Edward’s visit when Lucy was there and Marianne making it worse in her ignorance. So many moments where she was trying to hold her ground with what resources she had and within the parameters around her (which Marianne generally ignores.) The acting is generally too stiff and stagey for Elinor’s denunciation to Mariianne that she had suffered even if she wasn’t giving it full Drury Lane theatrics to land in the moment, though. One of two moments where actors were struggling with all the dialogue that felt like recorded theatre, not TV work.
This is the one where everyone ships Elinor and Colonel Brandon, except Marianne who ships Elinor/Edward, and only Elinor and we know all. Or the morning after the ball to Brandon asking Elinor to offer Edward a job and a means of marrying Lucy.
When Marianne was depressed on a bed was the best, because she was quiet. Austen’s satire of John Dashwood and the Mammon-worshipping snooty Ferrars came through (presumably Edward’s dad was all right and he got it from him?) As did the vulgarity of the Steeles and, yes, Mrs Jennings, but Patrica Routledge's performance was the best.
As Brandon disclosed (this version of) the tale of his ward’s woe thanks to Willoughby, I was struck anew by the fact that Marianne is basically the same age as his ward, just as prone to Willoughby (but better protected because she had a sister and mother around, and was maybe more ‘let’s talk poetry’ than make out.) I never take the step of shipping Elinor and Brandon, although they interact so much, but I do have some qualms about Brandon/Marianne (and devoutly hope they had at least one daughter who put them through the teenage years. Am also curious as to whether Marianne would ever meet her niece by marriage and how awkward that would be. This applies in all versions.)
So, much exquisite embarrassment for Elinor to suffer, some of it over her champions' praise for the fireguard, some of it over her half brother totally not standing up for her and taking the side of the spiteful Ferrars, all unknowing the truth about Lucy Steele. Worse yet, Edward’s visit when Lucy was there and Marianne making it worse in her ignorance. So many moments where she was trying to hold her ground with what resources she had and within the parameters around her (which Marianne generally ignores.) The acting is generally too stiff and stagey for Elinor’s denunciation to Mariianne that she had suffered even if she wasn’t giving it full Drury Lane theatrics to land in the moment, though. One of two moments where actors were struggling with all the dialogue that felt like recorded theatre, not TV work.