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 ...
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Emma Woodhouse seems to be perfectly content, a loving father whom she cares for, friends, and a home. But Emma has a terrible habit - matchmaking. She cannot resist finding suitors for her... See full summary »
Jonny Lee Miller
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 »
At age 10, Fanny Price is sent by her destitute mother to live with her aunt and uncle, Sir Thomas and Lady Bertram. As a child she was often made to feel that she was the poor relation but... See full summary »
The daughter of a country doctor copes with an unwanted stepmother, an impetuous stepsister, burdensome secrets, the town gossips, and the tug on her own heartstrings for a man who thinks of her only as a friend.
At 10, Fanny Price, a poor relation, goes to live at Mansfield Park, the estate of her aunt's husband, Sir Thomas. Clever, studious, and a writer with an ironic imagination and fine moral ... See full summary »
Jonny Lee Miller,
The series tells the story of Amy Dorrit, who spends her days earning money for the family and looking after her proud father, who is a long term inmate of Marshalsea debtors' prison in ... 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 Devonshire. There, the prevailing ambition is to find suitable husbands for the girls. With help from wealthy neighbor Sir John Middleton, suitors for Elinor and Marianne are soon found, but not landed. They include dashing Willoughby, future vicar Edward Ferrars and retired colonial gentleman Colonel Brandon. Written by
The scene of Col. Brandon shooting with Sir John Middleton was not in Andrew Davies's script. It was added at the suggestion of Mark Williams (Sir John), who was keen to include a scene between the two men, and being a historical gun enthusiast, wanted an opportunity to showcase his expertise. See more »
The scene: Elinor finds Edward chopping wood in the rain. We see Elinor approaching with her arms holding the shawl over her head and shoulders. When the shot shifts and we see Elinor from her back, the shawl is covering only her head, with arms over the shawl. See more »
wonderful cast and settings, but a poor screenplay
I loved the look of this adaptation of the novel and thought almost all the characters were ideally cast. In fact, I can't imagine a better Elinor, and the rest of the Dashwood family was close to ideal. As usual the BBC found lovely settings, though the cottage is too basic to be believable and too close to the sea (!): Austen's concept of a cottage was a great deal more than this (four reception rooms downstairs, I believe). The problem is the screenplay, which trivialises so much of the novel, fails to understand some of its basic premises, and relies on visual titillation at the expense of the dialogue that was much more in evidence in the BBC's generally superior previous attempt. The moral of the story, both implied in this adaptation and explicit in the book, is to do with the dangers of excessive sensibility and not editing your feelings in order to conform to social conditions. It is not to do with what you do being more important than what you feel, as Marianne puts it during her sudden, Stepford-wife transformation to rationality. Her illness is not physical, and certainly has nothing to do with the ridiculous scene in the rain Davies has devised: it is in her mind. The whole point of the story is to show the danger of over-indulging one's feelings and disengaging from society. Davies: read the book again, and even if the book is to be changed, at least be consistent. The end product here was, I believe, a dumbing down of one of the most miraculous stories of the very early nineteenth century.
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