sense and sensibility

 

  • “[34] Casting[edit] See also: Main characters of Sense and Sensibility Hugh Grant, who had worked with Thompson in several films, was her first choice to play Edward Ferrars.

  • Doran said that despite it “being one of the great scenes in book history,” they could not get it to fit into the film.

  • “[104] It was one of the first scenes cut during editing: the original version was over three hours, Lee was less interested in the story’s romance, and Thompson found a kissing
    scene to be inappropriate.

  • [14][15] The actress found that Sense and Sensibility contained more action than she had remembered, and decided it would translate well to drama.

  • [112] Margaret’s altered storyline, giving her an interest in fencing and geography, also allows audience members to see the “feminine” side of Edward and Brandon, as they
    become father or brother figures to her.

  • —Austen scholar Devoney Looser[116] When adapting the characters for film, Thompson found that in the novel, “Edward and Brandon are quite shadowy and absent for long periods,”
    and that “making the male characters effective was one of the biggest problems.

  • [30][61] Nevertheless, Doran considered it a “low budget film”,[62] and many of the ideas Thompson and Lee came up with – such as an early dramatic scene depicting Mr. Dashwood’s
    bloody fall from a horse – were deemed unfilmable from a cost perspective.

  • [93] Music[edit] See also: Sense and Sensibility (soundtrack) Composer Patrick Doyle, who had previously worked with his friend Emma Thompson in the films Henry V, Much Ado
    About Nothing, and Dead Again, was hired to produce the music for Sense and Sensibility.

  • “[8] Prior to being hired at Mirage, the producer had spent years looking for a suitable screenwriter[7] – someone who was “equally strong in the areas of satire and romance”
    and could think in Austen’s language “almost as naturally as he or she could think in the language of the twentieth century.

  • Lee suggested Elinor’s age be changed to twenty-seven, which would also have made the difficult reality of spinsterhood easier for modern audiences to understand.

  • [66] Additionally, according to Thompson, the director became “deeply hurt and confused” when she and Grant made suggestions for certain scenes, which was something that was
    not done in his native country.

  • She considered having Edward re-appear midway through the film before deciding that it would not work as “there was nothing for him to do.

  • [23] Commenting on the casting of Laurie, whom she had known for years,[38] Thompson has said, “There is no one [else] on the planet who could capture Mr. Palmer’s disenchantment
    and redemption so perfectly, and make it funny.

  • A week after its completion, the producer selected Thompson to adapt Sense and Sensibility,[4] although she knew that Thompson had never written a screenplay.

  • “[24] At the same time, Thompson wished to avoid depicting “a couple of women waiting around for men”;[25] gradually her screenplay focused as much on the Dashwood sisters’
    relationship with each other as it did with their romantic interests.

  • [29] Fifteen directors were interviewed, but according to Doran, Lee was one of the few who recognised Austen’s humour; he told them he wanted the film to “break people’s
    hearts so badly that they’ll still be recovering from it two months later.

  • [75] Grant was unaware that Thompson would cry through most of his speech, and the actress attempted to reassure him, “‘There’s no other way, and I promise you it’ll work,
    and it will be funny as well as being touching.’

  • “[59] Grant in particular often had to be restrained from giving an “over-the-top” performance; Lee later recalled that the actor is “a show stealer.

  • He showed the cast a selection of films adapted from classic novels, including Barry Lyndon and The Age of Innocence, which he believed to be “great movies; everybody worships
    the art work, [but] it’s not what we want to do”.

  • [30] She felt that Lee’s involvement prevented the film from becoming “just some little English movie” that appealed only to local audiences instead of to the wider world.

  • [65] Rather than focus on period details, he wanted the film to concentrate on telling a good story.

  • [26] Thompson later said that Winslet, only nineteen years old, approached the part “energised and open, realistic, intelligent, and tremendous fun.

  • [43] Greg Wise was cast as Marianne’s other romantic interest, John Willoughby, his most noted role thus far.

  • [103] Thompson’s script included a scene of Elinor and Edward kissing, as the studio “couldn’t stand the idea of these two people who we’ve been watching all the way through
    not kissing.

  • [36] Amanda Root had also worked with Thompson on the screenplay, but had already committed to star in the 1995 film Persuasion.

  • [60] In the wake of the success of Columbia’s 1994 film Little Women, the American studio authorised Lee’s “relatively high budget” out of an expectation that it would be
    another cross-over hit and appeal to multiple audiences, thus yielding high box office returns.

  • [111] Another character altered for modern viewers is Margaret Dashwood, who conveys “the frustrations that a girl of our times might feel at the limitations facing her as
    a woman in the early nineteenth century.

  • [44][45] Twelve-year-old Emilie François, appearing as Margaret Dashwood, was one of the last people cast in the production; she had no professional acting experience.

  • Lee and Columbia wanted Thompson herself, now a “big-deal movie star” after her critically successful role in the 1992 film Howards End, to play Elinor.

  • Thompson and Doran quickly realised that “if we didn’t meet Edward and do the work and take that twenty minutes to set up those people … then it wasn’t going to work.

  • [26] She recalled, “The idea of a foreign director was intellectually appealing even though it was very scary to have someone who didn’t have English as his first language.

  • Lee was selected as director, both for his work in the 1993 film The Wedding Banquet and because Doran believed he would help the film appeal to a wider audience.

  • [7] Brandon’s confession scene, for instance, initially included flashbacks and stylised imagery before Thompson decided it was “emotionally more interesting to let Brandon
    tell the story himself and find it difficult.

  • [26] With the draft screenplay, Doran pitched the idea to various studios in order to finance the film, but found that many were wary of the beginner Thompson as the screenwriter.

  • [71] Thompson later recalled that Lee would “always come up to you and say something unexpectedly crushing”, such as asking her not to “look so old”.

  • Thompson’s screenplay exaggerated the Dashwood family’s wealth to make their later scenes of poverty more apparent to modern audiences.

  • The screenwriter had to carefully balance the amount of screentime she gave to the male leads, noting in her film production diary that such a decision would “very much lie
    in the editing.

  • [98] Editing[edit] Thompson and Doran discussed how much of the love stories to depict, as the male characters spend much of the novel away from the Dashwood sisters.

  • [46] Thompson praised the young actress in her production diaries, “Emilie has a natural quick intelligence that informs every movement – she creates spontaneity in all of
    us just by being there.

  • [4][15] As Thompson mentioned on the BBC program QI in 2009, at one point in the writing process a computer failure almost lost the entire work.

  • [Lee] was more focused on body language than any director I’ve ever seen or heard of.

  • [59] Other actors soon joined them in meditating – according to Doran, it “was pretty interesting.

  • “[23] The formal casting process began in February 1995,[36] though some of the actors met with Thompson the previous year to help her conceptualise the script.

  • [16] Emma Thompson worked on the Sense and Sensibility screenplay for five years Thompson spent five years writing and revising the screenplay, both during and between shooting
    other films.

  • She was considered a risk, as her experience was as an actress who had never written a film script.

  • “[59] He suggested Winslet read books of poetry and report back to him to best understand her character.

  • [7][8] She chose to adapt this particular Austen work because there were two female leads.

  • [32] He spent six months in England “learn[ing] how to make this movie, how to do a period film, culturally … and how to adapt to the major league film industry.

  • I let him do, I have to say, less ‘star’ stuff, the Hugh Grant thing … and not [let] the movie serve him, which is probably what he’s used to now.

  • [63][64] According to Thompson, Lee “arrived on set with the whole movie in his head”.

  • He reflected in 2013 about the editing process: It was the first film that I had done with Ang that was all in English, and it’s Emma Thompson, Kate Winslet, Alan Rickman,
    and Hugh Grant — these great, great actors.

  • [71] He often had the cast do numerous takes for a scene to get the perfect shot,[11][29] and was not afraid to call something “boring” if he disliked it.

  • [22][23] She found the romances to be the most difficult to “juggle”,[23] and her draft received some criticism for the way it presented Willoughby and Edward.

  • [26] Grant called her screenplay “genius”, explaining “I’ve always been a philistine about Jane Austen herself, and I think Emma’s script is miles better than the book and
    much more amusing.

  • [94] Asked by the director to select existing music or compose new “gentle” melodies, Doyle wrote a score that reflected the film’s events.

  • Though initially intending to have another actress portray Elinor, Thompson was persuaded to take the role.

  • “[4] She also praised the novel for possessing “wonderful characters … three strong love stories, surprising plot twists, good jokes, relevant themes, and a heart-stopping
    ending.

  • “[11] Because Thompson and Doran had worked on the screenplay for so long, Lee described himself at the time as a “director for hire”, as he was unsure of his role and position.

  • “[32] In January 1995, Thompson presented a draft to Lee, Doran, co-producer Laurie Borg, and others working on the production, and spent the next two months editing the screenplay
    based upon their feedback.

  • It was my job to look at something that Emma Thompson had done and say, “Eh, that’s not good, I’ll use this other one instead.”

  • “[76] Lee had one demand for the scene, that Thompson avoid the temptation to turn her head towards the camera.

  • [109][110] To heighten the contrast between them, Marianne and Willoughby’s relationship includes an “erotic” invented scene in which the latter requests a lock of her hair
    – a direct contrast to Elinor’s “reserved relationship” with Edward.

  • “[41] Grant’s casting was criticised by the Jane Austen Society of North America (JASNA), whose representatives said that he was too handsome for the part.

  • “[19] She observed that in a screenwriting process, a first draft often had “a lot of good stuff in it” but needed to be edited, and second drafts would “almost certainly
    be rubbish … because you get into a panic.

  • “[8] Doran read screenplays by English and American writers[10] until she came across a series of comedic skits, often in period settings, that actress Emma Thompson had written.

  • [117] Grant’s Edward and Rickman’s Brandon are “ideal” modern males who display an obvious love of children as well as “pleasing manners”, especially when contrasted with
    Palmer.

  • Thompson was pleased that Rickman could express the “extraordinary sweetness [of] his nature,” as he had played “Machiavellian types so effectively” in other films.

  • [48] Costume design[edit] Thompson’s dress for her character Elinor Dashwood According to Austen scholar Linda Troost, the costumes used in Sense and Sensibility helped emphasise
    the class and status of the various characters, particularly among the Dashwoods.

  • [26][35] Thompson agreed, later stating that she was “desperate to get into a corset and act it and stop thinking about it as a script.

  • “[101] Thompson also opted to exclude the duel scene between Brandon and Willoughby, which is described in the novel, because it “only seemed to subtract from the mystery.

  • Winslet pretended she had heard that the audition was still for Marianne, and won the part based on a single reading.

 

Works Cited

[‘”Sense and Sensibility”. British Film Institute. Archived from the original on 26 December 2017. Retrieved 15 December 2017.
2. ^ “‘Sense and Sensibility’ (PG)”. British Board of Film Classification. 15 December 1995. Archived from the original
on 29 October 2013. Retrieved 2 December 2012.
3. ^ Jump up to:a b Flavin 2004, p. 42.
4. ^ Jump up to:a b c d Mills, Nancy (17 March 1996). “Book sense; Lindsay Doran kept her sites on bringing ‘Sense And Sensibility’ to the screen”. Chicago
Tribune. Archived from the original on 6 October 2012. Retrieved 17 August 2011.
5. ^ Parrill 2002, pp. 21, 24.
6. ^ Jump up to:a b Dole 2001, p. 63.
7. ^ Jump up to:a b c d e Stempel 2000, p. 249.
8. ^ Jump up to:a b c Doran 1995, p. 11.
9. ^
Dobie 2003, p. 249.
10. ^ Doran 1995, p. 12.
11. ^ Jump up to:a b c d e f g “Jane Austen does lunch”. The Daily Beast. 17 December 1995. Archived from the original on 16 August 2011. Retrieved 13 August 2011.
12. ^ Leydon, Joe (5 January 1996).
“Thompson sees a lot of sense in Jane Austen’s sensibilities”. Chicago Tribune. Archived from the original on 5 October 2012. Retrieved 16 August 2011.
13. ^ Jump up to:a b Doran 1995, p. 13.
14. ^ Doran 1995, pp. 12–13.
15. ^ Jump up to:a
b c Silverstein, Melissa (24 August 2010). “Interview with Lindsay Doran: Producer Nanny McPhee returns”. The Huffington Post. Archived from the original on 26 October 2013. Retrieved 7 December 2012.
16. ^ Jump up to:a b Thompson 1995, p. 209.
17. ^
Thompson 1995, p. 208.
18. ^ Jump up to:a b Parrill 2002, p. 6.
19. ^ Thompson 1995, p. 252.
20. ^ Thompson & Doran 1995, 01:33:00–01:33:25.
21. ^ Rickey, Carrie (23 August 2010). “Emma Thompson on child rearing, screenwriting and acting”.
The Philadelphia Inquirer. Archived from the original on 21 September 2013. Retrieved 26 April 2013.
22. ^ Welsh, Jim (1 January 1996). “A sensible screenplay”. Literature/Film Quarterly. Archived from the original on 11 June 2014. Retrieved 27
August 2012 – via HighBeam Research.
23. ^ Jump up to:a b c d e f Thompson, Anne (15 December 1995). “Emma Thompson: Write for the part”. Entertainment Weekly. Archived from the original on 25 September 2013. Retrieved 22 July 2013.
24. ^ Thompson
& Doran 1995, 01:33:25–01:33:49.
25. ^ Gay 2003, p. 92.
26. ^ Jump up to:a b c d e f g h i Miller, Frank. “Sense and Sensibility”. Turner Classic Movies. Archived from the original on 1 July 2013. Retrieved 1 May 2017.
27. ^ “Hilarious QI Moment
– Emma Thompson’s Script”. Archived from the original on 27 May 2015 – via www.youtube.com.
28. ^ Mills 2009, p. 67.
29. ^ Jump up to:a b c d e Kerr, Sarah (1 April 1996). “Sense and sensitivity”. New York. Archived from the original on 19 August
2020. Retrieved 16 August 2011.
30. ^ Jump up to:a b c d Higson 2011, p. 155.
31. ^ Higson 2004, p. 46.
32. ^ Jump up to:a b Stock, Francine (21 January 2013). “In conversation with Ang Lee”. Harper’s Bazaar. Archived from the original on 17
March 2013. Retrieved 26 April 2013.
33. ^ Thompson 1995, pp. 207–10.
34. ^ Thompson 1995, p. 251.
35. ^ Roberts, Laura (16 December 2010). “British actresses who made their name starring in Jane Austen adaptations”. The Daily Telegraph. Archived
from the original on 24 January 2011. Retrieved 14 August 2011.
36. ^ Jump up to:a b Thompson 1995, p. 210.
37. ^ Thompson & Doran 1995, 9:45–9:53.
38. ^ Gerrard, Nicci (6 May 2000). “Going straight”. The Guardian. Archived from the original
on 21 September 2013. Retrieved 2 September 2013.
39. ^ Thompson 1995, pp. 251–52.
40. ^ Thompson & Doran 1995, 9:15–9:30.
41. ^ Gilbert, Matthew (7 May 1995). “Hugh Grant: The Englishman who went up the Hollywood mountain and came down a star”.
Boston Globe. Archived from the original on 11 June 2014. Retrieved 26 August 2012 – via HighBeam Research.
42. ^ Thompson 1995, p. 216.
43. ^ Jump up to:a b Thompson 1995, p. 269.
44. ^ Henley, Jon (14 September 2008). “Less is more”. The Guardian.
Archived from the original on 28 January 2014. Retrieved 23 August 2013.
45. ^ Tweedie, Neil (20 September 2008). “Greg Wise talks about acting and life with Emma Thompson”. The Daily Telegraph. Archived from the original on 15 March 2014. Retrieved
23 August 2013.
46. ^ Thompson & Doran 1995, 5:13–5:20.
47. ^ Thompson 1995, pp. 246–47.
48. ^ “Sense and Sensibility (1995)”. British Film Institute. Archived from the original on 28 January 2014. Retrieved 1 September 2012.
49. ^ Jump up
to:a b c d e Troost 2007, p. 83.
50. ^ Nadoolman Landis 2012.
51. ^ Gritten, David (25 March 2006). “Why we should love and leave the world of Merchant Ivory”. The Daily Telegraph. ProQuest 321309053. (subscription required)
52. ^ Roberts, Kathaleen
(12 October 2008). “Clothes make the movies: ‘Fashion in Film’ showcases outstanding period costumes”. Albuquerque Journal. ProQuest 324476672. (subscription required)
53. ^ Jump up to:a b c d e Goodwin, Betty (15 December 1995). “Fashion / Screen
style”. Los Angeles Times. ProQuest 293222193. (subscription required)
54. ^ Jump up to:a b Gay 2003, pp. 97–98.
55. ^ Thompson 1995, p. 258.
56. ^ Gay 2003, p. 98.
57. ^ “The 68th Academy Award nominations”. Los Angeles Times. 14 February
1996. ProQuest 293206028. (subscription required)
58. ^ Mills 2009, p. 68.
59. ^ Jump up to:a b c d e f g Warren, Michael (22 September 1995). “Ang Lee on a roll: The director of The Wedding Banquet and Eat Drink”. AsianWeek. Archived from the
original on 11 June 2014. Retrieved 27 August 2012 – via HighBeam Research.
60. ^ Jump up to:a b Higson 2004, p. 44.
61. ^ Higson 2004, p. 45.
62. ^ Thompson & Doran 1995, 20:00–20:20.
63. ^ Thompson 1995, pp. 207–09.
64. ^ Thompson & Doran
1995, 1:11–2:25.
65. ^ Jump up to:a b Thompson & Doran 1995, 01:02:00–01:03:45.
66. ^ Thompson 1995, pp. 220–21.
67. ^ Jump up to:a b c d Mills 2009, p. 70.
68. ^ Thompson 1995, pp. 220, 240.
69. ^ Thompson & Doran 1995, 17:00–17:20.
70. ^
Jump up to:a b c Mills 2009, p. 72.
71. ^ Jump up to:a b Dawes, Amy (13 December 1995). “Remaking the classics director, cast find yin, yang in Austen tale”. Los Angeles Daily News. Archived from the original on 11 June 2014. Retrieved 26 August
2012 – via HighBeam Research.
72. ^ Thompson & Doran 1995, 4:20–4:40.
73. ^ Thompson & Doran 1995, pp. 227–28.
74. ^ Thompson 1995, pp. 212–13.
75. ^ Thompson 1995, pp. 266–67.
76. ^ Lyall, Sarah (5 November 2006). “Beauty is much less than
skin deep”. The New York Times. Archived from the original on 10 January 2015. Retrieved 16 August 2011.
77. ^ “The Sense and Sensibility estate, Saltram House, Devon”. The Guardian. 7 June 2009. Archived from the original on 3 February 2014. Retrieved
17 August 2011.
78. ^ Higson 2011, p. 149.
79. ^ Thompson 1995, pp. 215, 217–19.
80. ^ Thompson 1995, pp. 215, 217, 222, 226–27.
81. ^ Voigts-Virchow 2004, p. 11.
82. ^ Thompson 1995, p. 224.
83. ^ “Efford House | Flete Holiday Cottages”.
Archived from the original on 6 May 2021. Retrieved 19 October 2021.
84. ^ “Barton Cottage from the 1995 Movie “Sense and Sensibility””. 10 January 2010. Archived from the original on 16 August 2021. Retrieved 16 August 2021.
85. ^ Thompson 1995,
p. 233.
86. ^ Britten, Nick (18 July 2010). “Weddings fall at Sense and Sensibility church after bells break”. The Daily Telegraph. Archived from the original on 28 January 2014. Retrieved 18 August 2011.
87. ^ Thompson 1995, p. 230.
88. ^ Thompson
1995, pp. 235–37.
89. ^ Thompson & Doran 1995, 6:15–6:25.
90. ^ Thompson 1995, pp. 261–62.
91. ^ Thompson 1995, pp. 286–87.
92. ^ “Other special places to visit”. National Trust for Places of Historic Interest or Natural Beauty. Archived from
the original on 5 September 2011. Retrieved 18 August 2011.
93. ^ Rose, Steve (10 July 2010). “This week’s new film events”. The Guardian. Archived from the original on 28 January 2014. Retrieved 18 August 2011.
94. ^ Jump up to:a b Webber, Brad
(1 March 1996). “Composer’s classical music makes ‘Sense’ in movies”. Chicago Tribune. Archived from the original on 6 October 2012. Retrieved 17 August 2011.
95. ^ Jump up to:a b c d e Parrill 2002, p. 43.
96. ^ Jump up to:a b Horn, John (13
March 1996). “Score one for the movies: composers translate plot, character and setting into Oscar-nominated music”. Rocky Mountain News. Archived from the original on 11 June 2014. Retrieved 14 April 2013 – via HighBeam Research.
97. ^ Carter,
Darryl. “Sense and Sensibility – Patrick Doyle”. AllMusic. Archived from the original on 26 January 2013. Retrieved 1 September 2012.
98. ^ Jump up to:a b Chapman, Glen (21 April 2011). “Music in the movies: Patrick Doyle”. Den of Geek. Archived
from the original on 29 January 2014. Retrieved 14 April 2013.
99. ^ Jump up to:a b Hansen, Liane (10 March 1996). “Film scores – The men who make the music – Part 2”. NPR. Archived from the original on 11 June 2014. Retrieved 14 April 2013 – via
HighBeam Research.
100. ^ Cripps, Charlotte (15 October 2007). “Classical composer aims to score for charity”. The Independent. Archived from the original on 29 June 2013. Retrieved 14 April 2013 – via HighBeam Research.
101. ^ Jump up to:a b
c Thompson 1995, p. 272.
102. ^ Thompson & Doran 1995, 9:30–9:50.
103. ^ Thompson & Doran 1995, 01:29:10–01:29:50.
104. ^ Jump up to:a b Thompson & Doran 1995, 01:30:00–01:30:35.
105. ^ Higson 2011, p. 141.
106. ^ Jump up to:a b c d e f
Stovel 2011.
107. ^ Thompson & Doran 1995, 01:59:00–01:59:15.
108. ^ Bierly, Mandi (22 February 2013). “Oscar-nominated editors clear up the biggest category misconception”. Entertainment Weekly. CNN. Archived from the original on 2 March 2013.
Retrieved 23 July 2013.
109. ^ Flavin 2004, pp. 42–3, 46.
110. ^ Dole 2001, pp. 51–3.
111. ^ Kohler-Ryan & Palmer 2013, p. 56.
112. ^ Jump up to:a b Parrill 2002, p. 11.
113. ^ Flavin 2004, p. 44.
114. ^ Nixon 2001, pp. 36–37.
115. ^
Flavin 2004, pp. 44–45.
116. ^ Jump up to:a b Looser 1996.
117. ^ Parrill 2002, p. 7.
118. ^ Flavin 2004, p. 43.
119. ^ Jones 2005, p. 102.
120. ^ Nixon 2001, pp. 35–36.
121. ^ Thompson 1995, p. 255.
122. ^ Thompson 1995, p. 265.
123. ^
Kroll, Jack (13 December 1995). “Hollywood reeling over Jane Austen’s novels”. Los Angeles Daily News. Archived from the original on 21 September 2013. Retrieved 27 August 2012 – via HighBeam Research.
124. ^ Stuart, Jon (10 December 1995). “Emma
Thompson, sensibly: The levelheaded actress turns screenwriter with her adaptation of Jane Austen’s ‘Sense and Sensibility.'”. Los Angeles Times. Archived from the original on 21 September 2013. Retrieved 26 April 2013.
125. ^ Thompson & Doran
1995, 5:40–6:25.
126. ^ Kohler-Ryan & Palmer 2013, p. 41.
127. ^ Scholz 2013, p. 133.
128. ^ McRae 2013, p. 35.
129. ^ McRae 2013, p. 36.
130. ^ Dole 2001, pp. 59–63.
131. ^ Flavin 2004, p. 49.
132. ^ Thompson 2003, pp. 24–5.
133. ^
Higson 2011, p. 150.
134. ^ McCreadie 2006, p. 75.
135. ^ Gay 2003, pp. 92–3.
136. ^ Dole 2001, pp. 55–6.
137. ^ Troost 2007, pp. 82–83.
138. ^ Gay 2003, p. 93.
139. ^ Pidduck 2000, p. 123.
140. ^ Jump up to:a b c d Higson 2011, p. 157.
141. ^
Jump up to:a b “Sense and Sensibility (1995)”. Box Office Mojo. Archived from the original on 25 July 2012. Retrieved 23 August 2012.
142. ^ Jump up to:a b Higson 2004, p. 65.
143. ^ “Weekend Box Office Results for January 26-28, 1996”. Box Office
Mojo. Archived from the original on 21 September 2013. Retrieved 23 August 2012.
144. ^ Jump up to:a b c Higson 2011, p. 156.
145. ^ “The best of 1995: Cinema”. Time. 25 December 1995. Archived from the original on 27 August 2012. Retrieved 26
August 2012.
146. ^ Lauerman, Connie (15 December 1995). “Happy ending”. Chicago Tribune. Archived from the original on 6 October 2012. Retrieved 17 August 2011.
147. ^ Brownstein 2001, p. 17.
148. ^ Higson 2011, pp. 129–30.
149. ^ Higson
2004, pp. 40–41.
150. ^ Higson 2011, p. 129.
151. ^ Thompson 2003, p. 13.
152. ^ Higson 2011, pp. 157–58.
153. ^ Jump up to:a b Higson 2011, p. 158.
154. ^ Higson 2004, p. 35.
155. ^ Dwyer, Michael (8 March 1996). “Tea, tears and sympathy
“Sense And Sensibility” (PG) Savoy, Virgin, Omniplex, UCIs, Dublin”. The Irish Times. Archived from the original on 11 June 2014. Retrieved 23 July 2013 – via HighBeam Research.
156. ^ “Sense and Sensibility (1995)”. Rotten Tomatoes. Fandango. Archived
from the original on 20 December 2013. Retrieved 24 August 2021.
157. ^ “Sense and Sensibility Reviews”. Metacritic. Archived from the original on 29 April 2020. Retrieved 13 December 2019.
158. ^ “SENSE AND SENSIBILITY (1995) A”. CinemaScore.
Archived from the original on 20 December 2018.
159. ^ McCarthy, Todd (3 December 1995). “Sense and Sensibility”. Variety. Archived from the original on 19 October 2021. Retrieved 1 September 2012.
160. ^ Jump up to:a b LaSalle, Mick (13 December
1995). “A fine ‘Sensibility’, Emma Thompson adapts Jane Austen’s classic story”. San Francisco Chronicle. Archived from the original on 26 October 2012. Retrieved 31 August 2012.
161. ^ Simon 2005, p. 484.
162. ^ Ebert, Roger (13 December 1995).
“Sense And Sensibility”. Chicago Sun-Times. RogerEbert.com. Archived from the original on 8 December 2020. Retrieved 1 January 2021.
163. ^ Maslin, Janet (13 December 1995). “FILM REVIEW;In Mannerly Search of Marriageable Men (Published 1995)”.
The New York Times. Archived from the original on 3 July 2021. Retrieved 1 January 2021.
164. ^ Carr, Jay (13 December 1995). “Thompson makes glorious ‘Sense'”. Boston Globe. Archived from the original on 11 November 2013. Retrieved 23 July 2013
– via HighBeam Research.
165. ^ Jump up to:a b Parkinson, David. “Sense and Sensibility”. Radio Times. Archived from the original on 28 September 2013. Retrieved 23 August 2013.
166. ^ “My favourite film: Sense and Sensibility”. TheGuardian.com.
26 December 2011. Archived from the original on 29 January 2014. Retrieved 13 December 2016.
167. ^ Parrill 2002, p. 4.
168. ^ “Nominees & winners for the 68th Academy Awards”. Academy of Motion Picture Arts and Sciences. Archived from the original
on 1 February 2014. Retrieved 13 August 2011.
169. ^ Welkos, Robert W. (26 March 1996). “‘Braveheart’ is top film; Cage, Sarandon win”. Los Angeles Times. Archived from the original on 9 March 2012. Retrieved 18 August 2011.
170. ^ Johnson,
Andrew (28 March 2010). “Emma Thompson: How Jane Austen saved me from going under”. The Independent. Archived from the original on 26 January 2012. Retrieved 18 August 2011.
171. ^ “Awards database”. British Academy of Film and Television Arts.
Archived from the original on 9 March 2012. Retrieved 13 August 2011.
172. ^ “Berlinale: 1996 prize winners”. berlinale.de. Archived from the original on 4 April 2014. Retrieved 1 January 2012.
173. ^ Shih 2007, p. 57.
174. ^ Page, Clarence
(12 March 1996). “Edited out of the Oscars”. The Baltimore Sun. Archived from the original on 14 October 2013. Retrieved 22 August 2013.
175. ^ Shih 2007, p. 59.
176. ^ Higson 2011, p. 125.
177. ^ Jump up to:a b Parrill 2002, p. 5.
178. ^
Higson 2004, p. 38.
179. ^ Dale, Arden; Pilon, Mary (6 December 2010). “In Jane Austen 2.0, the heroines and heroes friend each other”. The Wall Street Journal. Archived from the original on 4 February 2011. Retrieved 18 August 2011.
180. ^ Greenfield
& Troost 2001, p. 1.
181. ^ Higson 2004, p. 42.
182. ^ Higson 2011, pp. 149–50.
183. ^ Greenfield & Troost 2001, p. 2.
184. ^ Troost 2007, p. 75.
185. ^ Higson 2011, pp. 158–59.
186. ^ Conland, Tara (19 January 2007). “Davies turns up
heat on Austen”. The Guardian. Archived from the original on 21 September 2013. Retrieved 26 August 2012.
187. ^ Hoggard, Liz (24 July 2008). “Senseless sensibility”. The Independent. Archived from the original on 25 January 2013. Retrieved 7 August
2012 – via HighBeam Research.
188. ^ Winterman, Denise (9 March 2007). “Jane Austen – why the fuss?”. BBC News. Archived from the original on 19 April 2012. Retrieved 20 May 2012.
189. ^ Laity, Paul (25 December 2011). “My favourite film: Sense
and Sensibility”. The Guardian. Archived from the original on 29 January 2014. Retrieved 30 August 2012.
190. ^ Looser, Devoney (21 February 2016). “Sense and Sensibility and Jane Austen’s Accidental Feminists”. The Atlantic. Archived from the
original on 1 March 2016. Retrieved 1 March 2016.
Photo credit: https://www.flickr.com/photos/theholyllama/4333085242/’]