Sparks fly when spirited Elizabeth Bennet meets single, rich, and proud Mr. Darcy. But Mr. Darcy reluctantly finds himself falling in love with a woman beneath his class. Can each overcome their own pride and prejudice?
Eight years earlier, Anne Elliot, the daughter of a financially troubled aristocratic family, was persuaded to break off her engagement to Frederick Wentworth, a young seaman, who, though ... See full summary »
Widow Dashwood and her three unmarried daughters, Elinor, Marianne and Margaret, inherit only a tiny allowance. So they move out of their grand Sussex home to a more modest cottage in ... See full summary »
Royal Navy captain Wentworth was haughtily turned down eight years ago as suitor of pompous baronet Sir Walter Elliot's daughter Anne, despite true love. Now he visits their former seaside ... See full summary »
A man coping with the institutionalization of his wife because of Alzheimer's disease faces an epiphany when she transfers her affections to another man, Aubrey, a wheelchair-bound mute who also is a patient at the nursing home.
A mute woman along with her young daughter, and her prized piano, are sent to 1850s New Zealand for an arranged marriage to a wealthy landowner, and she's soon lusted after by a local worker on the plantation.
When Mr. Dashwood dies, he must leave the bulk of his estate to the son by his first marriage, which leaves his second wife and their three daughters (Elinor, Marianne, and Margaret) in straitened circumstances. They are taken in by a kindly cousin, but their lack of fortune affects the marriageability of both practical Elinor and romantic Marianne. When Elinor forms an attachment for the wealthy Edward Ferrars, his family disapproves and separates them. And though Mrs. Jennings tries to match the worthy (and rich) Colonel Brandon to her, Marianne finds the dashing and fiery John Willoughby more to her taste. Both relationships are sorely tried. Written by
Amanda Root was originally sought for the role of Marianne, and performed the role at a read-through of an early draft of the script. However, by the time the film was being made, Root could not appear, as she was already working on another Jane Austen film, Persuasion (1995). See more »
The baby that Mr. Palmer holds is wearing a disposable diaper underneath his 18th century clothing. See more »
I was never so grateful in all my life as I am to Mrs. Jennings. Oh, Elinor, I shall see Willoughby and you will see Edward. Are you asleep?
With you in the room?
I do not believe you feel as calm as you look, Elinor. Not even you. Oh, I will never sleep tonight. And what were you and Miss Steele talking about so long?
Nothing of significance.
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I saw this movie in a cinema back in 1996 and since that June I have seen it about a dozen times. It is true, that being an ardent lover of the so-called Romantic (as if the 13th century couldn't be Romantic or 17th, but these things are academic nonsense) period I can enjoy even minor pieces of period cinema, however this is most probably the best film set in the early 19th century. Although it centers on the relationship of the two sisters and their respective romantic relationships, it also seems to be a salute to the period itself in its precise description of the English country society. It is truthful to Jane Austen's novel, but Emma Thompson's script is fine in its own right, with many omissions and additions to the novel. The acting is superb, Kate Winslet as the typical Romantic dreamer (sensibility) is breathtaking (try not to be moved when her character wanders in the rain to see the house of her beloved and when she whispers half-deranged: 'Willoughby, Willoughby, Willoughby.') is perfect as is Emma Thompson as the rational but equally tormented older sister(sense). Greg Wise is perfect as the dashing semi-Byronic hero Willoughby and Allan Rickman as the mellow Brandon. To say nothing of the art direction, the music or the fantastic image composition. I would recommend everyone with some sort of emotional subtlety to see this film, for the story, the wit, the period and the imagery.
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