Austen’s ‘Sense and Sensibility’

During my travels earlier this year, Jane Austen’s ‘Sense and Sensibility’ was the book for the long train journeys. Austen was just nineteen when she wrote the first draft and published it when she was around 35. The book, like most of Austen’s works is a critique of English society during the early nineteenth century. Women weren’t allowed to inherit property. Hence marrying well was imperative for most women – which is why love, disappointments and marriage feature so regularly in most of Austen’s works.

In the words of this blogger:

Being able to judge character is a matter of life or death for women in 19th and 20th century literature. Take Emma Bovary, who falls in love with Leon and Rodolphe because she is bored to death of her husband, or Anna Karenina, who succumbs to the charms of Count Vronsky, a fundamentally spineless man. Or Isabel Archer, who chooses the penniless, sophisticated Gilbert Osmond, precisely because he is the unexpected choice, and is punished for her naivety

The novel, centered on two sisters—one calm and sensible, the other impulsive and passionate—traces how they navigate love, loss, and the weight of social expectation after their father’s death. Through their parallel journeys, Austen lays bare the economic vulnerability of women, critiques the rigid conventions of her time, and ultimately celebrates the strength and complexity of womanhood.

The 1995 adaptation by Ang Lee is the most popular one and true to its reputation, was well crafted with Emma Thompson and Kate Winslet helming the role of the two sisters.

The 2000 Tamil adaptation which I hadn’t watched so far, was harder to trace. It was a Reddit post that finally provided me a link to access the movie. Rajiv Menon’s Kandukondain Kandukondain, with Tabu and Aishwarya cast as the two sisters was a refreshing take. It follows the overall theme of the novel with Mammooty in the role of Colonel Brandon, Ajith as Edward Ferrars and Abbas as John Willoughby. Rai as the spunky Marrianne and Tabu as the more sombre Elinor were spot on in their portrayals. Yet, the film’s true genius lies in A. R. Rahman’s music—his compositions remain as fresh and vibrant today as they were when the film was released a quarter of a century ago.

Check out this track rendered by Chitra in Nattaikurinji:

Also check out this interview with Menon by Scroll on the 25th anniversary of the movie.

“I do not dislike him. I consider him, on the contrary, as a very respectable man, who has every body’s good word, and nobody’s notice; who, has more money than he can spend, more time than he knows how to employ, and two new coats every year.” “Add to which,” cried Marianne, “that he has neither genius, taste, nor spirit. That his understanding has no brilliancy, his feelings no ardour, and his voice no expression.