The lessening of Austen's contrasts in S+S 2008

I've been thinking about how Austen emphasized contrasts in Sense and Sensibility. She drew these contrasts to create her themes of satire in her novel. The stark differences between characters, the extremes of their situations, all serve to emphasize the other. She intended to show her readers concentrated distillations, in order to drive home her points.

In recently watching the 2008 adaptation of S&S, and during recent discussion here, and on the S&S 95 board, I've noticed that contrasts were softened in S&S 2008.

I truly enjoy the 2008 mini-series, though I prefer S&S 95. I even own it along with a copy of S&S 95, but I do notice some inherent differences in how each adaptation interpreted Austen's original characters and situations. Here are some examples of what I've noticed. Please, bear with me, this will be a long post.

Marianne's character - In Austen's eyes, she's a hopeless romantic. Head in the clouds, with no real understanding of what is truly important in life. She is guided by emotion, and is unconcerned with consequences. She finds propriety and convention dull. She has a good heart, but her immaturity makes her selfish for the most part, and she's harsh in her judgements of others that don't share her free-spirited sensibilities. She's very certain that her way of seeing things is the only right way.

IMO Wakefield's Marianne is a softer version of Austen's extreme. She's so sweet, and almost childlike with her slight build, and large eyes, she's also adorably pretty. I almost couldn't blame her for being so naive. It seemed as if she were making the standard mistakes that most young persons might. So her behavior didn't stand out at me as willfully foolish as I think Austen intended. We almost understand that she's not ready to grow up, when Austen intended us to realize that Marianne is completely in the wrong.

Winslet's Marianne was more towards the extreme that Austen intended. She's also very pretty, but she has a bit of maturity to her face and figure - that shows the woman within. She looks more young adult than childlike, so her immature behavior clashes with her more grown appearance - which is the contrast that I think Austen finds important. She judges Elinor, Brandon, and even Edward's reserve with a heavily critical eye - and openly speaks it out. "I don't understand her Mama!" She says with frustration about Elinor. She's convinced her way of giving into her emotions, is the "right" way to be. IMO Winslet gives her Marianne a streak of willfullness that puts her closer to the extreme version "sensibility" we're supposed to see. We are supposed to notice how wrong Marianne is, and want her to realize it too.

Marianne's heartbreak and illness - Austen intended Marianne's abandonment by Willoughby, and resulting deathly illness to be a shattering life-altering experience. In many ways, it's supposed to be a near death experience.

In the 2008 adaptation, her heartbreak in being abandoned by Willoughby doesn't seem to be as intense as Austen had written it. She's very disappointed, hurt, and angry, but I don't see her being completely devastated. Physically, she appears the same. Even when she's shown as being ill - her color is normal - she's not bathed in sweat. Wakefield's illness is given very little screen time, and is not shown with the grave severity that it is in the novel. I didn't get the feeling it was to the extreme of being at the brink of death.

In contrast, Winslet's Marianne in the 95 adaptation is completely desolate with the pain of Willoughby's abandonment, and beyond comfort. The depths of her despair are heart-wrenching to see. Physically, she's even pale and weakened by her heartbreak alone - and this is BEFORE she becomes ill. Edward notices it, and remarks upon it too. And the attention paid to Marianne's illness in the 95 adaptation is spot on IMO. The film creates the sense of dread that they could very well lose her. It's made clear to us that her heartbreak was so severe, she's all but lost the will to live. And this is heavily foreshadowed in her earlier conversation with her Mother. She's speaking of her admiration for the tragic Juliet, etc. and she says "To die for love? What could be more glorious!". We feel the real fear that she may die. Marianne is delirious, pale, drenched in sweat, and tossing fitfully in the throes of intense fever. The doctor is very grave in his prognosis. Elinor is clearly nursing her to the point of exhaustion, and her terror at the thought of losing her sister is very dramatic. She begs Marianne to "try", to fight, to live. At one point, Marianne literally looks like a corpse. She's deathly still, and pale to the point of waxiness. Elinor has a very moving scene in which she shows her fear in losing her sister. I like seeing this contrasted to Elinor's wave of relief when she realizes that Marianne's fever has blessedly broken. Again, so much contrast here - from the depth of despair of losing her sister to intense relief. Marianne being the picture of health, to being at deaths door. Contrasts that Austen intended, and which create more interest and impact.

Brandon's character - Austen wrote him as a quiet, unassuming, gentleman. Who is much older than Marianne. He appears average on the surface. He's not unattractive, but he's not attractive either. He's not lively, he doesn't stand out. He's pleasant, polite, but not charming or dashing. He's pensive, and melancholy, which we discover is very understandable considering his tragic past. He's presented in a very plain brown wrapper, but Elinor notices quickly, and we are supposed to as well, that inside his deceptively boring exterior, there is a rare, priceless, jewel of a man. It's supposed to be clear to everyone, except Marianne, early on. There's the contrast of Brandon's inner character to his outer appearance. Also, the contrast of Elinor having the important ability of discernment to see his value, and Marianne lacking discernment. There's also the contrast between his subdued manner, and Willougby's dashing charm.

Morrissey's Brandon in S&S 2008, is more assertive than Austen's Brandon. He is not quiet and unassuming at all. He stands out from the start. He is shown to be intrigued by Marianne, and he acts upon it quickly. He has conversation with her that shows his deep understanding of music, and gives her a gift of music when they are in the first stages of acquaintance. He seems to rush over for a visit immediately after making the acquaintance of the Dashwoods. His Brandon displays a decided interest in Marianne, and he seems eager to pursue her company. He also confronts Willoughby regarding his intentions towards Marianne. This is very assertive behavior, though it's intent is noble. He's outwardly confident, and actually pretty dashing. In short, rather than Morrissey's Brandon being presented in a plain brown wrapper, he's packaged with more vitality than Austen's Brandon. He outer appearance and exhibited behavior is not deceptively boring as it should be - he's interesting from the get go. There isn't much contrast between his outer appearance and his inner character, which is supposed to be hidden beneath the surface. And there isn't much discernment needed by Elinor or the audience to see his who the inner Brandon is. His assurance, strength, and deeply felt emotion (that creates the impulsiveness at times), is practically advertised on a billboard in every scene Morissey has. It's almost funny that Marianne doesn't see it. Instead of lacking discernment, she seems to have a illogical prejudice against his age alone, or a blind spot for billboards. Also the virility, and impulsivity of 2008's Brandon does not allow him to contrast against Willoughby as he should. Dominic Cooper is very cute, I like him very much, but his Willoughby compared to Morrissey's Brandon appears boyish. Brandon and Willougby both show impulsiveness - so there's not the stark contrast of restraint vs. acting on emotion. Cooper's Willoughby also doesn't overshadow Brandon like Austen intended. He's nearly overshadowed by Brandon. There isn't the extreme contrast between plain vs. dashing that was at the crux of Austen's Brandon vs. Willoughby. Austen intended us, and Marianne, to learn the important life lesson of "don't judge a book by it's cover", but the impact of that lesson is vastly lessened in 2008, IMO. David Morrissey is a talented actor, and I don't dislike his Brandon - but it's very different from the Brandon that Austen wrote.

I could go on, but this post is like a copy of War and Peace as it is! Thse are only a few examples of things that stood out in regards to which adaptation stays more faithful to the contrasts that Austen intended.

S&S 2008 seems to lessen the impact of those comparisons. It's still an enjoyable, and well-done adaptation IMO, but it's fails to deliver the strength of satirical impact that Austen was so fond of.

IMO, S&S 95 is the superior choice if you truly appreciate the dramatic interest, and wonderful dynamics, that her contrasts of extreme differences effectuate.