#sense and sensibility 1971

[hotjaneaustenmenpoll]

Round One Master List

Mr Darcy (1995) Vs Robert Martin (2009)

Mr Darcy (2005) Vs Mr Collins (1995)

Mr Darcy (1940) Vs Mr Collins (2005)

Mr Darcy (P&P&Z) Vs Mr Collins (P&P&Z)

Mr Knightley (1996) Vs John Knightley (2009)

Mr Knightley (1996) Vs Mr Elliot (2007)

Mr Knightley (2009) Vs Edmund Bertram (1999)

Mr Knightley (2020) Vs Mr Elton (2009)

Captain Wentworth (1995) Vs Captain Benwick (2007)

Captain Wentworth (2007) Vs Frank Churchill (1996)

Captain Wentworth (2022) Vs Captain Harville (2007)

Mr Tilney (2007) Vs Henry Crawford (2007)

Edmund Bertram (2007) Vs Mr Elton (2020)

Edward Ferrars (2008) Vs Edward Ferrars (1971)

Edward Ferrars (1995) Vs Frank Churchill (2022)

Colonel Brandon (1995) Vs Colonel Fitzwilliam (1995)

Colonel Brandon (2008) Vs Colonel Brandon (1981)

Wickham (1995) Vs Frederick Tilney (2007)

Wickham (2005) Vs Denny (1995)

Wickham (1940) Vs Mr Elton (1996)

Willoughby (1995) Vs Mr Elliot (1995)

Willoughby (2008) Vs Mr Rushworth (1999)

Henry Crawford (1999) Vs Captain Harville (2022)

Henry Crawford (1983) Vs Frank Churchill (1996)

Mr Elliot (2022) Vs Captain Benwick (1995)

Frank Churchill (2009) Vs Mr Palmer (1995)

Tom Bertram (1999) Vs William Price (2007)

Mr Sidney Parker (2019) Vs Mr Bingley (P&P&Z)

Robert Martin (2022) Vs Robert Martin (1996)

Mr Bingley (1995) Vs John Thorpe (2007)

Mr Bingley (2005) Vs Charles Musgrove (2022)

Reginald DeCourcy (2016) Vs Mr Collins (1940)

[historicalreusedcostumes]

This dress with Flowers on is worn on Patricia Routledge as Mrs. Jennings in Sense and Sensibility (1971) and worn again on Anne Blake as Princess Drubetskoya in War & Peace (1972) and many years later worn on Eloise Webb as Augusta Markham in Sanditon (2022)

[austenreusedcostumes]

This Pink/Orange dress is worn on Jo Kendall as Charlotte Palmer in Sense and Sensibility (1971) and worn again on Candida Fawsitt as Julie Karagina in War & Peace (1972).

Credit: iphpbb

[hotjaneaustenmenpoll]

@thatscarletflycatcher : I suppose this could count as propaganda for all Edwards :D but I'm pinging mostly for the effort 71' puts into disheveling Edward (and giving him the deepest Austen man cleavage I have seen)

Edward Ferrars (2008) Vs Edward Ferrars (1971)

Edward Ferrars (1995) Vs Frank Churchill (2022)

Elinor tells Edward Brandon is offering him the Delaford living.

Sense and Sensibility (71, 81, 95, 08)

[alifeinbooks]

Sense and Sensibility (1971)

Since I am planning on doing my Austen project chronologically, the first novel I have tackled is Sense and Sensibility. I got done with its 1971 BBC mini-series adaptation today, and I must say I enjoyed the four episodes quite a bit. The staging and production values were quite dated, but the casting of the Dashwood sisters (Joanna David as Elinor and Ciaran Madden as Marianne) was perfectly delightful! Ciaran especially lived Marianne to her most dramatic adolescent self, and that made her obsession with Willoughby and her gradual realisation that maybe, just maybe, her horizons need a little more broadening, that much more realistic. The men, especially Edward and Colonel Brandon, didn't do it for me, but who cares. Even though I found the first episode a little hard to get into, especially since I am reading the novel alongside, but it did grow on me.

A solid 3.5 rating from me. Available to view for free on YouTube: https://www.youtube.com/watch?v=D45VvEeUNLo&list=PLVe_HgNacfDsOJGjTc1FhqHniVnbrqmxh

[tavolgisvist]

What we were talking about

The teenage Paul McCartney would love the idea of fame. That’s what he was trying to do, that was the dream. But it’s funny – life gives you minor premonitions. You don’t think of them as premonitions until the dream comes true and then you think, ‘Hey, I wonder if that was a sign’. I remember when John and I were first hanging out together, I had a dream about digging in the garden with my hands. I’d dreamt that before but I’d never found anything other than an old tin can. But in this dream I found a gold coin. I kept digging and I found another. And another. The next day I told John about this amazing dream I’d had and he said, ‘That’s funny, I had the same dream’. So both of us had this dream of finding this treasure. And I suppose you could say it came true. I remember years later talking about it – ‘Remember that dream we had?’; ‘Yeah, that was far out’. So the message of that dream was: keep digging lads.

(Paul McCartney, Feb 2012, interview for The Big Issue)

Paul: They’re onto that thing. They just want to be near to each other. So I just think it’s just silly of me, or of anyone, to try and say to him, “No, you can’t,” you know. It’s like, ‘cause – okay, they’re – they’re going overboard about it, but John always does! And Yoko probably always does. So that’s their scene. You can’t go saying – you know, “Don’t go overboard about this thing. Be sensible about it. Don’t bring it to meetings.” It’s his decision, that. It’s – it’s none of our business, to start interfering in that. Even when it comes into our business, you still can’t really say much, unless – except, “Look, I don’t like it, John.” And then he can say, well, “Screw you,” or, “I like it,” or, “Well, I won’t do it so much,” or blablabla. Like, that’s the only way, you know. To tell John about that. Michael Lindsay-Hogg: Have you done that already? Paul: Well, I told him I didn’t like writing songs… with him and Yoko.

(Paul McCartney, Get Back sessions, 13 January, 1969)

John’s John. John wants to wipe everything away and start again, but in doing so he never wipes anything away. He wants it to be him and Yoko against the world, or whatever, but he`s still in with all the others, in with all the contracts and going into the meetings and everything. “He’s getting pissed off with it though – I sense it. I’ve had a couple of good conversations recently with just John, and I’ve felt a lot of common ground with him.* And I watched him on the Parkinson show, and really a lot of the things he’s into, we’re into as well.”

(Paul McCartney, Nov 1971, interview with Steve Peacock for Sounds)

*after John’s ‘Imagine’ with HDYS but befor John's letter to Paul in Melody Maker

More about fight John and Paul had through the Melody Maker here

There’s no hard feelings or anything, but you just don’t hang around with your ex-wife. We’ve completely finished. ’Cos, you know, I’m just not that keen on John after all he’s done. I mean, you can be friendly with someone, and they can shit on you, and you’re just a fool if you keep friends with them. I’m not just going to lie down and let him shit on me again. I think he’s a bit daft, to tell you the truth. I talked to him about the Klein thing, and he’s so misinformed it’s ridiculous.**

(Paul McCartney interviewed by student journalist Ian McNulty for the Hull University Torch, May 1972 [From The McCartney Legacy, Volume 1: 1969 – 1973 by Allan Kozinn and Adrian Sinclair, 2022)

**after John's letter to Paul in Melody Maker (published 4th Dec 1971)

We'd had a bread strike over here*** and I rang him and I was saying, What are you doing? He says. I'm baking some bread.' 'Oh! Me too.' Imagine, with the stereotypes, John and Paul talking about baking bread.

(Paul McCartney, May 2001, interview for Mojo magazine)

***a bread strike in England was in Nov 1978

Q: Do you regret that your life has become so public? A: I realized that a good fifteen years ago. I remember actually thinking when I went on holiday somewhere, ‘God I’d really better start thinking now about keeping a few countries aside where we don’t sell records. I won’t be able to go anywhere without being recognized.’ But now I think, ‘Really, I’ve reached the point of no return. There’s no going back.’ Even if I didn’t want to sing anymore, I’d just be like Greta Garbo or Brigitte Bardot. They both retired but you’d never know it. John said this to me a year before he died. He said, ‘Be careful what you wish for, it might just come true.’ That’s the way I look at it. I wished for all this and I got it. To regret it would mean I’d have to sit here and live with negative thoughts about it. I know that would only sink me. Even if I had feelings of regret my personality would not really let them out. ‘Look mate, you don’t regret it. Look on the other side,’ that’s me. Not to sink. I always used to do that instinctively, and not allow too many negative thoughts to surface.

(Paul McCartney, April/May 1982, interview for Music Express)

Q: Do you remember your last conversation with John? A: Yes. That is a nice thing, a consoling factor for me, because I do feel it was sad that we never actually sat down and straightened our differences out. But fortunately for me, the last phone conversation I ever had with him was really great, and we didn’t have any kind of blowup. It could have easily been one of the other phone calls, when we blew up at each other and slammed the phone down. PLAYBOY: Do you remember what you talked about? PAUL: It was just a very happy conversation about his family, my family. Enjoying his life very much; Sean was a very big part of it. And thining about getting on with his career. I remember he said, “Oh, God, I’m like Aunt Mimi, padding round here in me dressing gown”– robe, as he called it, ’cause he was picking up the American vernacular –“feeding the cats in me robe and cooking and putting a cup of tea on. This housewife wants a career!” It was that time for him. He was about to launch Double Fantasy.*

(Paul McCartney, Dec 1984, interview for Playboy)

*Double Fantasy released 17 November 1980

I tell you, he said one thing to me which made me understand what they were up to just as two people, not as anything else. Just as two people. He just said, ‘I tell you, it’s like holding hands on the back row of the pictures.’ <…> John. . . he says, ‘It’s too bad if I look. . . if we look, like people think we’re funny. It’s too bad. This is how we are and we’re very straight.’ ’Cause they are, really. They’re two great people, you know, and they’re very much in love. So you can’t say anything more than that.

(Paul McCartney, May 1969, interview with Roy Corlett)

SALEWICZ: Well, I always found it interesting the fact that he got – I mean, it seemed too much like coincidence to me, the fact that he got married a week or month after you. You know what I mean? PAUL: Yeah. I think we spurred each other into marriage. I mean, you know. They were very strong together, which left me out of the picture. So I got together with Linda and then we got strong with our own kind of thing. And I used to listen to a lot of what they said. I remember him saying to me, "You've got to work at marriage," which is something I still remember as a bit of advice. I still remember that. Um… And then yeah, I think they were a little bit peeved that we got married first. Probably. In a little way, you know, just minor jealousies. And so they got married. I don't know if that's – I mean, who knows… [inaudible] making it up, anyway.

(Paul McCartney, 1986, interview with Chris Salewicz for Q Magazine)

I spoke to the Eastmans. I said, “If we all think he’s not going to have a tax consequence, let’s give [the indemnity] to him.”’Cause, you know, if all sides are that smart, let’s all offer it. Break the deadlock. I went to New York, feeling like the bringer of good news. I rang him up. “Hello, John, how are you? Hello, how’s the kids? Oh, great. What’s all this about publishing? Yeah, great”—laugh laugh laugh—“What about Apple?” Tense. You know, that was the unfortunate thing in the last ten years. The moment you mention the word Apple, all of us go, eeeeep! Dread and horror and shock goes through all our systems. I said, “Look, as I understand it, you need this indemnity.” John said, “Fucking indemnity. Fucking this, fucking that. You don’t need to give me fucking indemnity, you fucking—” I think we ended up just sort of swearing at each other. I said, “Fuck you, ya big cunt,” ’cause I just couldn’t handle it. I couldn’t be sweet and reasonable anymore. I was shaking for an hour after that. Of course, the funniest thing was, I then meant to ring John Eastman and say to him, “No, no, it’s not gonna work, this whole thing. I tried to do the indemnity, it’s not gonna work.” Of course, I got the phone numbers wrong. I rang John Lennon back instead. [When the phone was answered, I said,] “Hello, John? Yeah, listen, I just—oh—yeah well…” But it was Yoko this time, and then I said, “Look, I didn’t mean for it to get like that—but, shit, you know, it seems to have got…” The funny thing was, they knew I was trying to ring John Eastman immediately after, so that would have reinforced their little feelings about me double-dealing. I’ve hardly talked to him since. I rang last Christmas, and I was smart enough not to mention Apple. We had a pleasant conversation. I was allowed to talk to his son, which was lovely. His son seemed very nice.

(Paul McCartney, 1980, in All You Need Is Love by Peter Brown and Steven Gaines)

We were submerged in business troubles at the time. There was incredible bitterness. At one point, to get some peace in the camp, I told my lawyers I wanted to give John an indemnity he had been seeking against a certain clause in one of the Apple contracts. I said, “Someone’s gotta make the first move. I’d love to be the voice of reason here.” I happened to be on my way to the Caribbean, so, passing through New York, I rang John up. But there was so much suspicion, even though I came bearing the olive branch. I said, “Hey, I’d like to see you.” He said, “What for? What do you really want?” It was very difficult. Finally . . . he had a great line for me: he said, “You’re all pizza and fairy tales.” He’d become sort of Americanized by then, so the best insult I could think of was to say, “Oh, fuck off, Kojak,” and slam the phone down. “Pizza and fairy tales” – I almost made that an album title. That was about the strength of our relationship then – very, very bitter – and we didn’t get over that for a long, long time. But thank God, at the very end, we suddenly realized that all we had to do was not mention Apple if we phoned each other. We could talk about the kids, talk about his cats, talk about writin’ songs – the one paramount thing was not to mention Apple. So then the last couple of phone calls we had were getting very nice. I remember once he said to me, “Do they play me against you like they play you against me?” Because there were always people in the background pitting us against each other. And I said, “Yeah, they do. They sure do.” That was a couple of months before he . . . it’s still weird even to say, “before he died.” I still can’t come to terms with that. I still don’t believe it. It’s like, you know, those dreams you have, where he’s still alive; then you wake up and . . . “Oh.”

(Paul McCartney, September 1986, interview with Kurt Loder for Rolling Stones)

add to this

and this

[bethanydelleman]

Best and worst adaptation of each Austen Novel (or ranking for those that only have one)?

All Austen novels have more than one adaptation; Lady Susan only has one (called Love and Friendship and it's great) but it's a novella. This will be based on what I've watched and I'm going with straight adaptations, not moderns or other variations like Pride & Prejudice & Zombies.

Pride & Prejudice: Best: 1967 BBC Miniseries (favourite interpretation of many characters) Worst: 2005 Hollywood movie (Darcy Shyboi and Elizabeth Tomboy Girlboss)

Sense & Sensibility: Best: 1995 movie (made smart changes while keeping the core of the story correct) Worst: 2008 BBC miniseries (added sex for shock value, Willoughby looks like a little weasel, Colonel Brandon was awful)

Mansfield Park: Best: 1983 BBC miniseries (only faithful adaptation) Worst: 1999 movie (destroyed Fanny, stupid fourth wall breaking, THE SEX SCENE IS BURNED INTO MY MEMORY IN A BAD WAY)

Northanger Abbey: Best: 2007 movie (perfect casting, just wish it was longer and they hadn't messed up the ending) Also best: 1987 movie, but only if you are as high as all the actors and producers clearly were when they made it.

Persuasion: Best: 1971 BBC miniseries (it is a full mini and gives the story enough room to breath, 1995 is also very good) Worst: 2022 Netflix diaster

Emma: Best: 2020 movie (understood the humour of Emma, beautiful costumes, Emma as a snob was very good, made smart updates) Worst: 1996 movie with Gwyneth Paltrow (I hated pouting Knightley and their Harriet and what they did with Mrs. Weston) Honourable mention: I do actually enjoy the 1972 adaptation, it has a perfect Harriet.

Those are my opinions, enjoy!

[lyarelofelcill]

I cannot find Northhanger Abbey ANYWHERE!

𝘔𝘺 𝘧𝘢𝘷𝘰𝘶𝘳𝘪𝘵𝘦 𝘈𝘶𝘴𝘵𝘦𝘯 𝘢𝘥𝘢𝘱𝘵𝘢𝘵𝘪𝘰𝘯𝘴

[thisbluespirit]

Edward (Robin Ellis) proposes to Elinor (Joanna David) in the 1971 BBC adaptation of Sense and Sensibility.

"I have longed for this moment from the instant of our first meeting. Dear, dear Elinor. Would you - could you possibly -?" "No, Edward, no!" "But why?" "Well, the gravel is much too damp. We had a shower earlier this morning. There - if you must be so foolish, take that." "Oh, prudent, practical Elinor! How could anyone fail to love you?"

[hotjaneaustenmenpoll]

[dichromaticdyke]

June Austen

no that’s not a typo, it’s a fun challenge i’m doing in the month of june. austenmaxxing, if you will. essentially, i plan on rereading all of austen’s novels, her unfinished novellas, and watching as many of the *english-language* adaptions of them as i can.

for ease, and if you wanna join in, i’ll link the books and any freely accessible adaptations here! listed in order of date originally written (not published), any unlinked adaptations were ones i couldn’t find outside of streaming and 🏴‍☠️ if you happen to find any links to ones i missed, feel free to drop them below.

Lady Susan (adaptation: Love and Friendship)

Northanger Abbey (adaptations: 1987, 2007)

The Watsons (unfinished, linked version was completed by L. Oulton)

Sense and Sensibility (adaptations: 1971, 1981, 1995, 2008, 2024)

Pride and Prejudice (adaptations: 1940, 1967, 1980, 1995, 2005)

Mansfield Park (adaptations: 1930, 1983, 1999, 2007)

Emma (adaptations: 1972, 1996 [dir. Lawrence], 1996 [dir. McGrath], 2009, 2020)

Persuasion (adaptations: 1971, 1995, 2007, 2022)

Sanditon (unfinished; adaptation: 2019)

[torturedpoetskywalker]

My 2024 Media Wrapped

(or my favorite medias from 2024)

Movies:

1. Past Lives (2023)

2. Whisper of the Heart (1995)

3. The Boy and the Heron (2023)

4. Perfect Days (2023)

5. Anatomy of a Fall (Og: Anatomie d'une chute), 2023

6. Heartless (Og: Sem Coração), 2023

7. Lisa Frankenstein (2024)

8. When Marnie Was There (2014)

9. Sense and Sensibility (1995)

10. Heathers (1988)

Rewatches:

1. Willy Wonka & the Chocolate Factory (1971)

2. Star Wars: Episode I - The Phantom Menace (1999)

3. Ponyo (2008)

4. Kiki's Delivery Service (1989)

5. Mary Poppins (1964)

6. A Girl Walks Home Alone at Night (2014)

7. Coraline (2009)

8. Jurassic Park (1993)

9. Jurassic Park III (2001)

10. Coco (2017)

Books/HQ's/Manga's:

1. the mermaid's voice returns in this one, Amanda Lovelace

2. Persepolis, Marjane Satrapi

3. Embroideries, Marjane Satrapi

4. This Winter, Alice Oseman

5. Cardcaptor Sakura #01

Albums:

1. Charm, Clairo

2. The Tortured Poets Department: The Anthology, Taylor Swift

3. Short n' Sweet, Sabrina Carpenter

4. Summer's Over, Jordana & TV Girl

5. SOS, SZA

6. The Rise and Fall of a Midwest Princess, Chappell Roan

[thatscarletflycatcher]

"I do not wish to call you my friend because I hope to call you something infinitely more dear... I rode through the rain... I'd ride through worse than that if I could just hear your voice telling me that I might at least have some chance to win you... maybe it is our imperfections that make us perfect for one another. Marry me? Marry me, my wonderful, darling friend."

"But you... you were not deceived, were you? You held to what you knew in your heart. Constant, constant as the rain! What should I do if you should ever go away? My dearest Fanny."

"Fanny, I must confess something. I have loved you all my life... as a man loves a woman, as a hero loves a heroine, as I have never loved anyone in my entire life. I was so anxious to do what is right, that I forgot to do what is right. But if you choose me, after all my blundering and blindness, that will be a happiness which no description could reach."

"Oh, Elinor, I have longed for this moment from the instant of our first meeting, dear, dear Elinor. Would you... could you possibly... How could anyone help to love you?"

"I have come here with no expectations, only to profess, now that I am at liberty to do so, that my heart is, and always will be, yours."

"Miss Dashwood, Elinor, I came here with no expectation, after everything that has happened you have every right to turn me away this instant. But I cannot leave here without conveying the intensity of my feelings for you... Every day since I first saw you, my love for you has grown. Elinor, I have no right to hope, but I must ask: can you forgive me? Can you love me? Will you marry me?"

"I told him that I felt myself bound to you, by honor, by affection, and by a love so strong, that nothing he could do could deter me from... Before I go on I should tell you there is a pretty good chance he'll disinherit me. I fear I may never be a rich man, Catherine. Will you marry me, Catherine?"

"Elinor, I would not blame you if you wanted me to leave, but please allow me... my engagement to Lucy was a folly of youth. I never felt for her or for anyone what I feel for you. And I don't care what my stepsister thinks, or my stepmother, or anyone. I will not marry for fortune, nor out of obligation. I want to marry for love. And I love you, Elinor. I know my own happiness now. And in truth, I have known it for some time. It lies with you, Elinor. I love you with all my heart. I have been in love with you since... since we first met at Norland. I tried to deny it out of some misguided sense of duty or honor. But... but it would not be denied. My love for you has never wavered. And I will continue to love you until the day I die. I came here today with one errand in mind, which I will now perform. Elinor Dashwood, will you do me the great honor of becoming my wife?"

Miss Morland... don't be afraid. I promise not to oppress you with too much remorse, or too much passion. Though since you left us, the white rose bush has died of grief. Catherine, are you still a disgrace to your sex? Does your face express all that your heart feels, or may I hope that it holds a secret? You know that I do not need my father's permission to marry you."

*I'm taking the P&P ones away from you all because it is no fun when everyone votes P&P.

[nathalieskinoblog]

Sense and Sensibility / Sinn und Sinnlichkeit 1971 - 2011

[katelfiredemon]

Guess who found a 1971 version of Sense and Sensibility on YouTube!

[bethanydelleman]

My friend saw both the 2005 and 1995 Pride and Prejudice and loved them. I now want to introduce my friend to the rest of Jane Austen, but realistically know that I'm going to have to do this through adaptations. What, in your opinion, is the best adaptation of each book to share with my friend?

I always go by most faithful to the novel. So for Pride & Prejudice I'd probably suggest 1995 or 1980, which are both pretty faithful. (I love 1967 but I might be a crazy person)

Sense & Sensibility I really need to watch the older mini series because I really dislike 2008. Their treatment of both Willoughby and Colonel Brandon make me unwilling to suggest it as a first watch. I'd go with the 1995 movie because the spirit of the story is very well preserved even with some changes. As for the older minis, ask @thatscarletflycatcher she's the expert.

Mansfield Park the only reasonable answer is the 1983 mini because neither movie is a good adaptation.

Northanger Abbey the 2007 movie for sure! The one from the 80s is only good for shits and giggles. Wish we had a mini.

Persuasion either the 1995 movie or the 1971 mini which in my opinion is sadly neglected. I think the 2007 movie is decent as well, with a hotter Wentworth, but the other two are more faithful

Emma... Emma is tricky. I am very partial to 2020, though it's a movie and Emma needs more room to breathe. The problem is I've watched both the 2009 and 1972 minis and i don't like them. 1972 adds a ton of non-book dialogue but it does have a perfect Harriet. 2009 is fairly faithful, but I don't like the false equivalent made between Jane, Emma, and Frank or the scene where Emma thanks her father for not sending her away (why in the world would he have? The dynamic is actually that he wants her with him forever). I also just found 2009 boring... As for the movies, I dislike Gwyneth Paltrow because it makes Emma too sweet and Kate Beckinsale because of the line they gave Knightley (you know the line!)

I guess I'll suggest 2020 as the movie adaptation and 2009 as the best mini.

(I hope I got all the years right on these things, forgive me if I'm a year or two off).