The title almost follows the writing line of the original author Jane Austen. The heroes Eleanor and Marian’s father’s death, and the old man’s advice to his eldest son at the time of his death, the screenwriter Emma Thompson did not skip, but created a slightly The death of the old man in the tight night means that the two sisters will lose the highest protection and will face a living condition under the fence. In front of the half-brother and the stingy and snobbish sister-in-law, the four women of the Dashwood family will not There may be a comfortable sky. Regarding the situation of women, Emma, like Jane, clearly reveals it.
The picture changed, and the busy city filled with the atmosphere of ease and busyness. There was a shrill voice between the tall buildings—sister-in-law Fanny was in front of her husband, making a fuss about how she wanted to help her sisters. The couple began to count the money, from the house to the carriage, from the street to the village, nothing stopped. The richest people are also the most caring people. Their conversations are full of pretense, just like the dust on the blanket that the woman on the balcony slapping desperately on, is vulnerable.
The carriage drove into the quiet nature, the sky was gray and blue, and the vegetation was dark green. A quick shot with dark colors-passing quickly, but instead indoors, there is not enough light. We saw Marian who was almost expressionless-her expression was all in the sound of her piano playing, gloomy, listless, but beautiful, like an innocent girl sighing leisurely. When the camera turns, the space is enlarged, the sound of light footsteps, the slender woman, dressed in a blue dress, walks quickly, and the picture suddenly becomes more dynamic. It's Eleanor. "Marian, can't you play something else? Mom has been crying since breakfast."
Eleanor's actor Emma Thompson and Marianne's actor Kate Winslet, in the first appearance of the two sisters, created a pair of very distinctive images. The joyful sister has a strong sentimentality, full of a girl's self-righteous but still immature mentality, and Marianne is more like a child in Eleanor's words. My sister is obviously more decisive, thoughtful and capable in doing things and speaking. If Marianne still only expresses the emotions in her heart, Eleanor has reached a kind of expressing only the emotions that make others feel her own. In other words, she has learned to take care of others completely, to live for her mother and her sisters, and her sense of responsibility makes her look depressed. Jane Austen called Eleanor's character "sane".
The atmosphere is not good. Everyone knows his situation. The old lady Dashwood wandered around the house hurriedly. The sound of the piano is gone, and the crisp sound of the collision of objects resembles the anxiety and sensitivity of a sad mother. Eleanor is also worried about their livelihoods, they must have a place to go. Mrs. Dashwood is very admirable. Although she cannot be as calm as the eldest daughter, she does live with dignity as much as possible, and her daughters do the same. Dignity is the commonality of human beings, but it is also the individuality of human beings. ——The picture is very short. When I went outdoors all of a sudden, Eleanor called to her little sister under the tree. Marguerite was not a quiet girl. She was in her tree house, speaking out loudly with a child's bluntness about her dissatisfaction with her brother and sister. Another clever Miss Dashwood. While the relatives were venting their inner feelings, they also crushed Eleanor in silence. Eleanor's heart is intertwined with multiple emotions, but her figure is trying to embody singleness and perseverance.
The carriage appeared again. The rhythm of the characters' language of the car's momentum also speeds up. Fanny was still nagging. What's interesting is that the carriage drove by and drove away a flock of sheep-even though this is a common scene in the suburbs of England, it also made me pay attention to it.
Fanny and John moved into Nolan Manor. From the dimly lit dinner, Marianne was obviously in a state of anger, often out of control, and various irrational performances began to infuse the outline of the character. Eleanor, showing her anxiety, made her eyes quickly swept, or an arc of brows changed sharply. The muddy atmosphere continued until the arrival of Edward Fellers, injecting fresh air into the hearts of Eleanor and the women.
Hugh Grant playing Edward is undoubtedly the most suitable candidate. Simple and sincere, with a hesitant tone-he seems to have experienced a lot, and with a little boyishness. I am still not quite sure about Edward's characteristics. For Jane's characters, I always seem to know a lot about female images, but I can't say much about the male protagonists. Emma Thompson's script made Edward more vivid, and also added a lot of drama to the little sister Margaret. Through the joyful friendship between Edward and Margaret, the hearts of Eleanor, Marian and Mrs. Dashwood were relaxed. This makes Elinor's feelings for Edward come naturally. Many fragments not in the book were inserted into the script, and it was very successful. For example, how Edward let Margaret out under the table in the library, Eleanor watched Edward and Margaret play fencing, and Marianne saw the two talking at the door. The slight change in expression also foreshadows something. Marianne's piano sound is still soothing, but worry-free, very bright and clear. However, at this time, the screenwriter did not forget to let Marianne show her passion. Before the faint affair between Eleanor and Edward, she thought of the lovers who died for love. Eleanor said, "I just think he is amiable and worthy of respect." Whether she is deliberately suppressing her inner feelings or not at all, I think it is the former. She is a person who desires to be considerate, and will never show it until she is sure, so as not to cause more waves in her life. I like this shot very much: Elinor is sitting alone in the stable. What is she doing? She was talking to the horse quietly. There must always be a liberating outlet for the things in her heart, so she told the horse. At this time Edward arrived suddenly, still with a hesitant tone, but at this moment, facing the girl beside the horse, he showed more reluctance. Edward was about to leave, but Eleanor's expression was almost the same, those pure eyes and reddish cheeks, like this was just an ordinary little thing. But Eleanor had no chance to bid farewell to Edward. This scene in the stables will also end. Natural creatures have innocence, beauty, and kindness, and the same is true between Eleanor and Edward. In this scene for them, it was a horse, which brought a lot of beauty.
Eleanor is leaving too, leaving Nolan with his sister and mother to go to a more remote place to find a peaceful life. It was the carriage again, slowly driving away, but the people in the carriage would not speak harsh words. There are billowing cumulonimbus clouds in the sky above the driveway, which are about to be suppressed. The season makes the outdoor scene dark and leaves the trees bare. Arriving at such a place is a noisy sight. The owner of the Baden Manor has no mouths for a moment, playing a comical role, a pair of ridiculous people. While yelling, Marianne returned to the cabin alone. In the wind, she showed a kind of stamina and loneliness. In fact, "emotion" does not require too much language to display. In silence, the body of the character and the integration with the surrounding scenery can also express the character of the character. Life in Villa Baden is a bit bitter and boring. Marianne didn't know, her sister was even more lonely in her heart. The owner of the manor kept teasing Eleanor with the initials of Edward's surname, and when Eleanor was small, didn't he look even more helpless and pale in his heart?
Marianne was playing the piano again when Colonel Brandon arrived. Alan Rickman is not the image of Colonel Brandon in my mind. But I feel that he played a character who missed Eleanor's character, but he was more sophisticated. Be restrained in emotions, be cautious in reality, always silent, always take care of your own minds. The scene where Colonel Brandon sees Marianne is also beautiful. The girl sang a song this time, melodious, and Eleanor looked at the colonel's expression and looked at his sister again, and she seemed to be able to see a lot. Marianne's golden hair and golden dress make her look like a goddess in classical colors. It can be said that the reason why the colonel fell in love with Marianne is extremely important. At the first glance, he saw the most beautiful Marian.
The arrival of the colonel seemed to have improved the weather, and it was time for the white dress and the country garden to appear. It can be seen that the colonel made the family very happy, and life has entered a relatively bright stage. There were a few pleasant bird songs in the melodious music. People played ball and drank refreshments in the afternoon. It's time for the heart to rest and enjoy it. But after the soft wind blows, what is it? It was a torrential rain, it was a torrential rain in Marian's life. Natural rainstorms and emotional rainstorms were enough to kill her. On the broad green plain, a tree with a luxuriant and wide canopy suddenly emerged. The sky was extremely gloomy, and there were two thin figures on the plane. Now you can know that Marianne is stupid. People who are impulsive tend to get hotheaded and find guilt. Who did she meet? Willoughby. It was this man who stirred up the storm. The color in the rain is a very cloudy blue, and Willoughby’s appearance is not so pleasant. Only Marianne felt that the color of life was coming-Willoughby gave her when he visited her again and again. Bring flowers.
The actors always use their eyes to show the love of the characters. Willoughby's eyes are typical of a playboy. When he stares at his target, he will appear muddy and unclear, as if he is deeply stuck in something, causing the other's eyes to drift away. Marianne's love is obviously not sober. When the colonel watched Marianne, he was focused, as if he was still thinking. When Eleanor looked at Edward, he was frank.
Marianne and Willoughby rode in a carriage, which was very interesting. The sun was shining sharply on the ground, but their carriage passed through the low and dark places. The people above watched them playing this thrilling game, but they were standing in the sun. . It became lively again, and as Marianne's passion soared, Lucy Steele also appeared. This petite, cunning woman, always dressed in elegant clothes, was pretentious when she spoke, and she was standing at Eleanor. By your side, come and compare with her.
Lucy laughed coquettishly; Marianne laughed, with bewildered happiness, her chest bent together, as if breathless; Elinor laughed sincerely, not a fleeting smile.
The so-called "feeling setbacks between the sisters" occurred almost simultaneously. Willoughby went to make Marian cry hard. Eleanor served as a comforter again, but holding a coffee tray, facing the closed door, he took a sip helplessly to calm himself. Lucy talked to her, showing the talking style of women in the city, and wiping around, finally said pitifully that she had a long-term marriage contract with Edward. Elinor's eyebrows moved again, but he still looked at Lucy steadily, the light in his eyes gradually faded, and after blinking his eyes, everything came back. She was always calm, facing Lucy's various words, her calmness made the other person feel a kind of pressure instead.
The sisters were going to London, so the carriage appeared again. When the weather was fine, Lucy chewed her tongue in Eleanor's ear, but Eleanor lowered her head slightly and listened in silence. The carriage drove into London. What London showed at once was a chaotic and busy street, a street full of horse-drawn carriages. Sitting in the carriage are all kinds of people wearing Chinese clothes, going to different places, with different moods.
Marianne couldn't restrain her maneuvering—Willoughby was in London. But Willoughby did not contact her. He stopped answering her, driven by profit. Marian turned around in the room without stopping, and Elinor sat in a chair, as if to stabilize her. Thought it was Willoughby's visit, but it was the colonel who has recently been. Marian ran out without thinking, and Eleanor treated him politely. Marian, who ran out, only knew it would cause more harm to herself. The part of the prom was outstanding. In a very large space, it is crowded with people, and the most gorgeous costumes gather together. In this space full of fame and fortune, I just want to give myself a place for fame and fortune. So it's not surprising that Willoughby is in it. Marian almost fainted when she saw the indifferent Willoughby. Eleanor led her out, but squeezed through all kinds of people, and finally got out of the contentious space. Lucy was also dancing, and she would stay there forever-that's why she finally married Robert Ferrer.
Marianne wept more desperately this time. She is a person who is good at venting any kind of joy and compassion—very selfish and never cared about Eleanor's feelings. Eleanor, on the other hand, looked after her everywhere, making her a beloved child, learning to cry. The colonel visits Marianne with his father's affection, but this kind of love is different, and it can make her grow up. The conversation between the colonel and Eleanor was very interesting, talking with people of character, calm and quiet, and everything was easy to solve.
What is interesting is the reappearance of Edward. Lucy was desperately talking about how Edward's mother liked herself. Edward came, but he hadn't noticed Lucy for a long time. The so-called "former lovers" seem very strange. At the winking girl, Edward was at a loss for a moment, so he stretched out his hand and took her away. Marianne still has enthusiasm for her former friends. More interesting is the part between Lucy and Fanny. The two of them were whispering like a pair of close friends, while making the best women in London like to wear colorful bird feathers. Until Lucy and Edward got engaged privately, Fanny suddenly jumped up, grabbed Lucy to the window, and pinched her neck! Under the window, there was a gentle, sun-shining London street.
Eleanor finally couldn't help it. Was it an outbreak? "What do you know besides your own pain?" This is the deepest blame for my sister. Everything had been boring in her heart, until everyone knew Lucy's engagement, she was relieved. Eleanor in the simple strokes is not so vivid and full of flesh and blood. Being sensible, she finally said her heart with red eyes one day, then she hugged her sister and calmed down again.
The carriage returned to the country, and the road was in a haze. The wind was blowing so hard that it blew the gray all over the countryside. Marianne walked alone, in the wind and rain, but she was thinking of Willoughby with tears, this is the last time, let the rain wash the man clean and no longer appear. The high fever seems to be a way of forgetting and rebirth and salvation. The colonel sent Marianne home, invited the sisters' mother, and kept guarding... everything he did, in exchange for a smile and a word of thanks. He thought, the haze should go away.
It's really gone. Eleanor and Marian set foot in the wilderness together on a clear day, looking at the sky and scenery in the distance. Edward arrived on the same sunny day, still in a hesitant tone, but Eleanor no longer concealed his emotions in the dust. She burst into tears suddenly, and in the tears, she smiled at Edward.
Both Eleanor and Marian changed, they moved closer to the center from the two extremes-the two ends of retracting and releasing. Emma Thompson is structured like this in the film, but Jane Austen does not.
Jane Austen's "Sense and Emotion" is not a particularly outstanding work. What is truly outstanding is the work of Emma Thompson and Ang Lee.
However, what do these creations have in common with the creations? These artists are all here, speaking quietly.
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