![sense and sensibility soundtrack on youtube sense and sensibility soundtrack on youtube](https://i.ytimg.com/vi/aUuXRfy5jSY/maxresdefault.jpg)
This elides the point that she's the person from whom Marianne inherits her romanticism on the other hand, this is clearly portrayed as a byproduct of her youth, and so no further excuse is needed. having Janet McTeer as the mother, it gives her credit for more sense than the novel does. And the production is sensitive to the qualities of the actresses cast: e.g. Also, the family seems a real family, with relationships that could only be products of having lived under the same roof for years.
![sense and sensibility soundtrack on youtube sense and sensibility soundtrack on youtube](https://i.ytimg.com/vi/NaPjlk2SUkw/hqdefault.jpg)
![sense and sensibility soundtrack on youtube sense and sensibility soundtrack on youtube](https://i.ytimg.com/vi/9PsaXdu45-M/maxresdefault.jpg)
And they're just extremely likable by the end I was ready to marry both of them myself. Its Elinor is the only one I've found right, and Marianne, who has been done well by before, is conveyed more fully here. In any case, where this production exceeds its predecessors is in the casting, especially of the Dashwood family. This of course is one of Austen's subjects, but I believe her characters never say outright, as Marianne does here (in some such words), "Are we only men's playthings?" The sentiment is apt, but the perspective seems a little awry. I take it the scriptwriter has adopted a darker view of the period since his earlier Austen dramatizations those were charming and merry the latest two leave out the funniest lines, turn the funny characters into unfunny ones, and seem bent on pointing up the sad plight of women in men's toils. I also don't understand why the families are introduced in poses as for portraits this tends in the opposite direction from the seascapes, towards satire, which seems out of keeping with the general approach. Why the ocean is there, I don't know it points up the two sisters' different moods but has a way of making some scenes seem like Emily Bronte. The first part, which required the most invention, introduces the protagonists and unfolds the story quite compellingly later the pace and the choice of incident become more iffy, as though the intended runtime had been shortened during shooting: some closely spaced scenes have a similar tone, without enough contrast between, and some minor characters are introduced and then abandoned. In the first hour it's my favorite by far in the rest, just my favorite. This serial, like Pride and Prejudice and Emma by the same scriptwriter, is my favorite rendition of its novel.