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Editorial Reviews
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Emma Thompson scores a double bull's-eye with this marvelous adaptation of Jane Austen's novel. Not only does Thompson turn in a strong (and gently humorous) performance as one of the Dashwood sisters--the one with "sense"--she also wrote the witty, wise screenplay. Austen's tale of 19th-century manners and morals provides a large cast with a feast of possibilities, notably Kate Winslet, in her pre-Titanic flowering, as Thompson's deeply romantic sister. Winslet attracts the wooing of shy Alan Rickman (a nice change of pace from his bad-guy roles) and dashing Greg Wise, while Thompson must endure an incredibly roundabout courtship with Hugh Grant, here in fine and funny form. All of this is doled out with the usual eye-filling English countryside and handsome costumes, yet the film always seems to be about the careful interior lives of its characters. The director, an inspired choice, is Taiwan-born Ang Lee, who brings the same exquisite taste and discreet touch he displayed in his previous Asian films (such as Eat Drink Man Woman). Thompson's script won an Oscar, and 1995 was a fine year for Jane Austen all around: Persuasion was made into an excellent picture, and Emma became the spritzy high school comedy Clueless. --Robert Horton
From The New Yorker
The director, Ang Lee, and the screenwriter, Emma Thompson, turn Jane Austen's first published novel into a gracious and unfailingly pleasant entertainment. Thompson also plays the very sensible heroine, Elinor Dashwood, and gives a restrained, appealing performance: she carries the movie without overwhelming her fellow-actors. (Alan Rickman and Kate Winslet are especially good; the only clinker is a grotesquely mannered performance by Hugh Grant as Elinor's suitor.) The picture is determinedly minor, but, slowly and surely, it persuades us to settle for the small delights of engaging storytelling, warm humor, pretty scenery, and pretty people. If it pressed its temperate charms on us any harder, they would be much easier to resist. -Terrence Rafferty
Copyright © 2006 The New Yorker
Emma Thompson scores a double bull's-eye with this marvelous adaptation of Jane Austen's novel. Not only does Thompson turn in a strong (and gently humorous) performance as one of the Dashwood sisters--the one with "sense"--she also wrote the witty, wise screenplay. Austen's tale of 19th-century manners and morals provides a large cast with a feast of possibilities, notably Kate Winslet, in her pre-Titanic flowering, as Thompson's deeply romantic sister. Winslet attracts the wooing of shy Alan Rickman (a nice change of pace from his bad-guy roles) and dashing Greg Wise, while Thompson must endure an incredibly roundabout courtship with Hugh Grant, here in fine and funny form. All of this is doled out with the usual eye-filling English countryside and handsome costumes, yet the film always seems to be about the careful interior lives of its characters. The director, an inspired choice, is Taiwan-born Ang Lee, who brings the same exquisite taste and discreet touch he displayed in his previous Asian films (such as Eat Drink Man Woman). Thompson's script won an Oscar, and 1995 was a fine year for Jane Austen all around: Persuasion was made into an excellent picture, and Emma became the spritzy high school comedy Clueless. --Robert Horton
From The New Yorker
The director, Ang Lee, and the screenwriter, Emma Thompson, turn Jane Austen's first published novel into a gracious and unfailingly pleasant entertainment. Thompson also plays the very sensible heroine, Elinor Dashwood, and gives a restrained, appealing performance: she carries the movie without overwhelming her fellow-actors. (Alan Rickman and Kate Winslet are especially good; the only clinker is a grotesquely mannered performance by Hugh Grant as Elinor's suitor.) The picture is determinedly minor, but, slowly and surely, it persuades us to settle for the small delights of engaging storytelling, warm humor, pretty scenery, and pretty people. If it pressed its temperate charms on us any harder, they would be much easier to resist. -Terrence Rafferty
Copyright © 2006 The New Yorker
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