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Georgia Oakley directs Sense and Sensibility

Catholic IntelligenceUpdated 1 min read

Georgia Oakley has directed a new film adaptation of Jane Austen's 1811 novel, Sense and Sensibility. The story follows sisters Elinor Dashwood, played by Daisy Edgar-Jones, and Marianne Dashwood, played by Esmé Creed-Miles, as they navigate financial hardship and romance in Regency England.

After the death of their father, the sisters, their mother Caitríona Balfe, and their youngest sibling Margaret, Bodhi Rae Breathnach, face poverty when their father's estate passes to their half-brother John, Tom Brooke. The family is pressured to leave their home due to the influence of John's wife, Fanny, played by Stacy Martin. The plot involves Elinor's attachment to Edward Ferrars, George MacKay, which leads to family conflict.

Critics have offered differing views on the film's style. Andrew Zuk of The Catholic Times noted that the adaptation is more visceral and tactile than the 1995 film, suggesting it offers a different lens on the characters' temperaments. John Mulderig of Catholic Review and OSV News described the film as lyrical and amusing, noting that director Oakley and screenwriter Diana Reid reflect the social refinement of the era. However, Elizabeth Nunes of The Catholic Weekly found the film's dark visual palette and eerie tone unsettling, stating it lacked the warmth and humor found in the original novel and previous adaptations.

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Earlier version, Thursday 22 October

Georgia Oakley directs 'Sense and Sensibility'

Earlier version, Wednesday 21 October

Movie Review: ‘Sense and Sensibility’

Earlier version, Tuesday 20 October

Catholic Review publishes movie review of 'Sense and Sensibility'

How the coverage unfolded

  1. Oct 19, 4:01 AM OSV News Sense and Sensibility
  2. Oct 19, 10:00 AM Catholic Review Movie Review: ‘Sense and Sensibility’
  3. Oct 20, 1:00 PM The Catholic Times ‘Sense and Sensibility’ review: Does it honor Jane Austen?
  4. Oct 21, 6:59 PM The Catholic Weekly Sense and Sensibility remake misses the mark

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