Anastasia Kharlamova Though the 1995 adaptation still remains my favorite, this one does have some advantages over it. First, of course, there are the younger actors cast as Elinor and Brandon; as much as I admire Emma Thompson and Alan Rickman, it's a fact that they were about 15 years older than their characters. Second, the miniseries format which allowed more scenes to fit in. Third, the addition of Elinor's drawing hobby - after all, she's a living and breathing 19-year-old, not Rational Sense personalized.The costumes and sets are all splendid. Almost no complaints here, though the poverty of Barton Cottage was, I believe, a bit exaggerated – with rooms so tiny there is barely enough space for the family, let alone their guests.But the main flaw of this adaptation, in my opinion, is that it gives too much away too early. We see Willoughby seducing and leaving Eliza Jr. in the first scene, and his sly smile, shifting eyes and plainly arrogant remarks later makes one wonder just how he completely bewitches everybody. On the other hand, Marianne is shown much more sympathetic with Colonel Brandon from the start, and after the duel scene no one can doubt which of the men will end up with her.Edward is shown much less shy than in the 1995 film. It allows him to converse with Elinor more freely, but then he (all of a sudden!) begins to mumble and stammer during the famous "talk about his education". Why the change?Finally, the scene with Marianne's sickness is much less dramatic. It seemed that the director wished to get her quickly to her happy ending, so, although she's raving in fever, there is always a feeling that there is no real danger. I think that this miniseries is a wonderful adaptation for those who are already familiar with the plot. Somehow it's like a big fanfiction in the "missing scenes" genre. It's for people who want to see Elinor not so rational and Edward not so shy; Colonel Brandon and Marianne's romance developing earlier and, well, less subtly; Willoughby the Villain from the beginning etc.But I wouldn't recommend it to these who don't know the novel or other movies based on it. Spoils all the intrigue, especially in the case of Marianne and her suitors.

orinocowomble While this film was shot in stunning locations making it a visual feast, that's not enough to carry a three-hour miniseries. Particularly when Mr Davies has cannibalised whole passages from the 1995 script by Emma Thompson. I hope he had her permission to "quote" at least, since he lifts exact lines from her work again and again--not to mention incidents, and even camera shots that were repeated from the earlier film, almost frame for frame. It is interesting that even the voice and intonations of the actress playing Elinor resonate heavily with Thompson's own performance. There are a few parts of the original novel that are given more play, such as the hair-ring, etc. but all in all I felt I was watching a wannabe remake of Ang Lee's film. They say that "imitation is the most sincere form of flattery" but in my opinion this is a most unflattering, barefaced copy bordering on plagiarism.

VReviews Over a decade after Emma Thompson's Oscar winning adaption of Jane Austen's most popular novel, Sense & Sensibility; screen-writer Andrew Davies brought the story to television released as a mini-series through the BBC. Given the critical acclaim Thompson's adaption received, one can't help but make comparisons. However, just as with Shakespeare, the fascination and enjoyment often comes in the choices of how and which pieces of the story will be developed and in the skill of the acting.The choices made in this adaptation bring more detail to the genesis of the Dashwood's circumstances, and the past dubious indiscretions of the cad Willoughby. To hardcore aficionados of Jane Austin, the opening scene between the unidentified lovers may feel out of place, even awkward especially since Austin didn't pen such a scene, nor is it even close to 19th century sensibilities. However, if you forgive this odd beginning, what follows is a much more illustrative and informative picture of life for the Ladies Dashwood as it was prior to Mr. Dashwood's death, than previous adaptations have afforded. They lived in splendor, yet due to the inheritance laws of the time, they also lived in a precarious state of anxiety not knowing if or how their father's first born son would honor Mr. Dashwood's request to take care of his 2nd wife and daughters. The mini-series format was much better able to take the time to fully develop this part of the story, which really provides the dramatic grounding to Austin's emotional tale. For instance, the scenes in which John Dashwood and his conniving wife Fanny discuss what his promise to his late father really meant, was excellent in it's distastefulness. Just as the stark dichotomy between the majestic Dashwood home is juxtaposed against the bleak and clinging coastal cottage that the Dashwoods are reduced to. These scenes are not only included, but are detailed out beautifully allowing the audience to fully appreciate the change in circumstances of the Dashwoods, and their need not only emotionally, but financially to be married.The casting by Kate Rhodes James is stellar; except perhaps for Dominic Cooper as Willoughby whose slight-of-frame, roguish, modern boy charm doesn't quite transfer to the 18th century. Subtle, yet purposeful directing by John Alexander lends a nuanced portrayal throughout. For example, Dan Stevens does a fine job in depicting the honorable and reserved, yet intelligent Edward Ferrars. This is an Edward who sees through his sister's insincere and mean-spirited discourse, and deflects the barbs thrown at the sisters Dashwood with a slight expression of the face, and perfectly placed word. His performance is more shaded and genuine than Hugh Grant's stammering and visibly conflicted Edward.The BBC has a long history of putting out top-notch period dramas, that along with multi- award winning writer Andrew Davies, and this glorious three-part/three hour format provides an enjoyable and entertaining immersion into Jane Austin's Sense & Sensibility.

Red-125 "Sense & Sensibility" (2008) directed by John Alexander, is an excellent BBC version of a great novel. I have just watched--and reviewed for IMDb--the 1971 version, also done by BBC. Each version has it's strong and weak points, but I slightly prefer this version to the earlier one.Production values were excellent, as they were in the earlier version. The BBC actors lived up to their reputations, and, of course, the story is fascinating. However, I think the casting was better in the recent version. Both Hattie Morahan as Elinor Dashwood, and Charity Wakefield as Marianne Dashwood, looked like my concept of the characters described by Austen. David Morrissey as Colonel Brandon, and Dominic Cooper as Willoughby were equally well cast. However, Dan Stevens was too worldly and sophisticated for the role of Edward Ferrars. I'm not convinced that he would have truly preferred a small country parish to life in London. Claire Skinner was excellent as the ever-so-polite and ever-so-evil Fanny Dashwood.Watching two movie versions of the same novel back-to-back is like reading two versions of a French or Russian novel in translation. You get a very different work of art depending on the choices made by the director of the film or the translator of the book. If the movies were allowed to follow the book chapter by chapter, they would be eight or ten hours long. So, some scenes must be abandoned or at least compressed. That's where the writer and director have to make decisions about what stays in and what goes out. Those decisions, in turn, determine the sense and the feel of the product that we see. It's a long time since I've read the novel, so I can't be sure which version is truer to Austen's work. However, both films both fascinating, and worth seeking out. Because this film was conceived as a TV miniseries, it's structured to work well on a small screen. Nonetheless, if you can see it in a theater, it will probably look even better. Buy it or rent it. You won't be disappointed.