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I don't care how many times I see Rugby snuggle with one of his piggies, it makes me smile and warms my heart! He most often tucks one under his chin when he naps, and I always feel good knowing he's got his little "Piggie Security Blanket" with him in case something triggers him while he's sleeping.
In this photo, you can see that he has a boo boo on his nose that was almost healed up. He had gotten stressed one day, and rubbed it raw as his response to that stress. He's a very high strung, reactive dog, so having his piggies nearby really has become a security blanket for him. I just love watching him choose to snuggle with them, knowing that they are a calming influence and help him manage his world safely. He always has one or two nearby…just in case!
Happy snuggles for your Sunday….from Rugby James!
Does your dog have a consistent snuggle buddy?


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How do I use the Pre-Order Module?
3dcart's pre-order module allows you to take orders and payment for items that are not yet available. Perhaps the items have street/release dates that must be honored, or maybe you'd like to gauge the demand for an item to determine how many units you should order from the distributor.
When an item is purchased via pre-order, the order is created on the store and the payment is pre-authorized on the customer's card. At the time of the order's placement, the shopper's credit card information is also automatically saved (via tokenized gateway). When the customer checks out, the order is then placed in your store's PRE-ORDER status/queue.
Upon reaching the item's availability date, you will process the order simply by moving it into the NEW order status queue (or have the store automatically move it for you), and the store will capture the authorized amount*. From this point, you can process the order and ship it to your customers as normal.
To use the Pre-Order Module, you will need the following:
Please check with your respective payment gateway in regards to additional fees (if any) for the use of their tokenized methods.
Setting up the module
To begin setting up the module, follow these steps:
You will have the following settings available to you in the module:
Once you have completed configuring your desired settings, click "Save" at the top right of the screen to complete the preliminary setup.
Setting products to Pre-Order Status
By following the steps above, the Pre-Order module set up is complete. The next part of the process will involve setting which products will be made available for pre-order.
While still logged into your Online Store Manager
Pre-Order On the Store Front
Here's a reference of how the pre-order process will appear on your store front to your customers.
Pre-Order Item Inventory
Be aware that Pre-Order Item inventory is deducted at the time of purchase. In other words, when the customer pre-orders the item, and the order is placed into PRE-ORDER status, the item's stock for the order is deducted from your store's inventory. If the item starts off with 0 inventory, then the store will display the stock in negative quantities to indicate how many orders for the item have been received.
This can be useful for situations where you may be using the Pre-Order function to gauge how much demand the item will have before ordering it from your vendors.

subset: commoncrawl


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Paul finished his first Arrowhead Ultra in 31 hours 37 minutes putting him in 22nd place overall. Results can be found on the Arrowhead blog. Jim caught up with Paul at Carnegie Labs in Leeds where he is starting his preparation for the second race in his challenge. Read the interview.
There are some photos of the race on the iFallsDailyJournal site and more on JimBoduh.
The Arrowhead is just the start of an exciting year for Paul and his bike. Shortly after this event he will be flying out to Nepal for the 2010 Yak Attack. Starting on March 9th from the heart of Kathmandu, this is a 10 day, 420km (261 miles) with over 8000m of ascent. Reaching a high point of 5416m across the Thorong La it is sure to be a be a real test against temperature, trail conditions and altitude.
Then it's out to Purnie Bore, South Australia in September to end the year at "Satan's Velodrome" for the Simpson Desert Bike challenge. A nine stage challenge over 5 days it roughly breaks down with the first four days consisting of a 80km morning stage and a 50km afternoon stage, ending with another 80km stage on day 5. The total 590km takes them over 700 sand dunes, salt lakes and no doubt, stray kangaroos, to finish at the Birdsville Hotel in Queensland for a well earned stubby. Temperatures could easily be up in the 40's as he tries to avoid the pursuing 'sweep vehicle'!


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The hamper and economy delivery prices stated above were supplied by each retailer within the last few days, and may have since changed. Some retailers may levy a premium charge on top of their standard delivery cost depending upon the size of the gift hamper. Certain postcodes may incur a further premium delivery charge too. For current hamper and delivery costs click the Buy button above.
Childhood picnics are fun. They are joyous. They are made of mud pies and grass sandwiches eaten from plates made of stone, invisible lemonade drunk from acorn cups, and shared with teddies and dolls and toy soldiers who just happen to be the best of friends. And speaking of friends, they were always there, giggling, joking, playing, and adventuring. It was perpetually hot, the grass was freshly mown and smelled of sunshine, and time stood still.
Why can't grown up picnics be like the make believe picnics of yesteryear, with their fun and their pure timeless pleasure?
What if they can be?
What if, instead of food made from nature, it was made from naturally good produce of the finest quality? Replace those twigs and leaves with olives, cake, and deliciously crunchy biscuits. Forget pond water wine and have the real deal; red, white, and sparkling all in one gorgeous bundle.
What's for dessert? Lots! Lashing and lashings of chocolate, fudge, marmalade and jam – surely there is nothing better. Unless, of course, it's second helpings of sumptuous picnic fare! In this Extravagance Hamper there is plenty to go around, and more than enough to share with friends.
In Virginia Hayward's exquisite hamper full of the most mouth-watering items – extravagant by name and nature, and wonderful with it – your package of summery, childhood nostalgia is presented in a wicker basket with strap fastenings, making it ideal to take on long strolls by the river, or on a boat trip. Take it to the beach and relax in the moonlit sand as waves lap the shore, or relive childhood holidays as you go on adventures with your lifelong friends, stopping along the way to indulge in a lavish picnic lunch.
"'I don't know why, but the meals we have on picnics always taste so much nicer than the ones we have indoors,' said George." - Enid Blyton, Five Go Off in a Caravan
There's nothing quite like a picnic. Make it perfect and splendid and something to be remembered. Make it extravagant.
This hamper is likely to feature a bottle or two of alcohol or may be based entirely around a type of liquor. These types of hamper are perfect for a wide range of people from those who like the occasional tipple through to those who know their hops or grapes.
When you think hampers you might think of a grand wicker hamper full of treats and tipples you wouldn't buy normally from day-to-day. This hamper offers that very experience, with a range of foods and treats perfect for a celebration.
Ideal for birthdays Celebrate a special birthday for a special person with a special hamper! These hampers are often filled with a selection of tasty treats and some even come with a birthday cake!
Say "thanks" Say thank you with a gift hamper of treats. This hamper is great as a thank you gift for a teacher, or for a house-sitter, or for someone who has helped you out recently. Designed to be budget friendly this hamper offers a wonderful impact and will be greatly welcomed.
Here's to the bride and groom Celebrate a wedding day with a wonderful hamper designed to offer the bride and groom a selection of treats on their big day. Their wedding will be a very memorable one, and this hamper will make your gift stand out amongst others!
This hamper is presented inside a beautiful traditional wicker, seagrass or reed hamper. Not only does this offer a wonderful first impression but once the contents of the hamper have been used then the hamper itself can be reused, perhaps as storage or re-gifted to a friend or family member.


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"So now I'll break his yoke bar from you, And I will tear off your shackles." Nahum 1:13
Being in a prison isn't always about the physical location of a 5 by 7 cell. Often times as humans, we are also shackled by invisible chains that hinder our progress. When we hold on to the baggage of the past, we become bound in place. Stagnated by our bitterness. Existing and not necessarily living.
These invisible shackles are silent killers that are manifested in distrust of others, the damaged good syndrome, unresolved feelings, replaying the past on repeat cycle.
The only way to get over it is to 1. Accept it. 2. Leave it in the past. 3. Recognize the Triggers 4. Find a way to move on.
The Invisible Shackles Novels will tell the story of two sisters: Itohan and Isoken(Keni) Adolo. Each book is a complete stand alone story. The Adolo sisters deal with emotional baggage that threaten to destroy them and the happiness they desperately desire but afraid to have.
The first book is To Live Again featuring Osaro and Itohan is now availble. Read more here


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Yong-ran Zhu
2-Feb-1998, 13:39
I bought Toyo 45AX and want to use 6x9 roll film back. The Toyo back is very exp ensive ($599). I believe the Graphic 4x5 to 6x9 roll film back can be used on To yo 45 AX. Would you please let me know the quality of the the Graphic 6x9 roll f ilm holder. Thanks!


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Among the various stones used to manufacture goods, granite is one of the most durable. Granite garden fountains, however, offer much more than durability. Granite is a stone possessed of some of the most subtle and beautiful variations that one is likely to find anywhere. When it is sculpted into a beautiful fountain, these features are only more impressive.
Granite comes in a variety of colors. Granite outdoor fountains can be purchased which are of a bluish-gray color and of every shade in between that and almost black. This has long been a part of granite's tremendous appeal as a material for building and for artistic pursuits. The color variations make it possible to find items which are almost custom in their effect.
Granite garden fountains can be found in most popular designs. From dome-topped bowls to tall and narrow columns, this material is nothing if not versatile. It is also strong enough to be relied upon for many years. Granite is hard and resistant to environmental damage. Not all of the benefits of a granite outdoor fountain are so practical, however.
With water cascading over it, the variations on a granite garden fountain are emphasized in the most delicate and striking of ways. This stone, though it is very common and widely-used, cannot be denied as being a very beautiful material. It has an elegance which will make itself a part of any garden in which it is placed.
All of our fountains are of the highest quality. Granite water fountains are available in numerous designs and, though there is much variation between one and the next, quality is the consistent factor. Any other retail price will be matched upon the customer's request.


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Although we certainly don't set out to embarrass our tweens, it's perfectly normal to derive a bit of pleasure from such low-hanging fruit. After all, wasn't it just a few years ago that our potty-training prodigy made an impromptu poo in the front yard -- just as her Sunday school teacher pulled into the driveway for a visit?
So we admit to satisfying our own twisted sense of justice when we wear our Van Halen concert T-shirts (circa 1985) to pick up our sons from basketball practice. Or when we refuse to utter a word of caution as our husbands pair socks with sandals to escort our tweens to the mall. We really are embarrassing.
As your tween becomes an almost-teenager in a world fraught with hyper-mature role models, remain calm -- no matter what your tween's processing. Still, there's no harm in pushing the envelope once in a while. Especially if it means you don't have to give up your favorite T-shirt. After all, no tween ever really died of embarrassment, right?
However, in the interest of bridging the gap between tween drama and real-life parenting, we've come up with 10 ways we could tone it down. Mastering these hot topics will foster a feeling of understanding -- which is what your tween is really after.


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Further expounding the Divine attribute of Al Nur or The Light, today Hazoor elucidated verse (66:9) of Surah Al Tahrim in his Friday Sermon. The verse explicates the spiritual development of believers in this life and the continuation of it in the life after death, in terms of the believers' desire to be forgiven and to acquire and further excel in Nur.
Hazoor recounted that the Holy Prophet (peace and blessings be on him) said that on the Day of Judgment he would recognize and identify his ummah (people) for their books of deeds would be handed to them in their right hands and there would be Nur (Light) running before them.
Hazoor said that the Promised Messiah (on whom be peace) further explained this and wrote that people who possessed the Nur light of faith in this world would be as if immersed in this Nur on the Day of Judgment and they would be beseeching their Lord to make this Nur reach the point of excellence
Related Resources


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Unlike his father, the only adventures he's ever had have been in his head, or drawn in his sketchbook. This girl seems from another world. Looking at her is like catching a glimpse of an unknown track: and immediately he wants to travel it to the horizon, to know what's at the end.
-- Narrator (Chapter 1 paragraph Page 7)
Importance: Part of what motivates Will is his desire for adventure. This quote not only shows that, but it also emphasizes the way that he uses his art to explore. Finally, it also introduces Maren and establishes the infatuation that he has with her.
Something shifts inside Will, like a door opening. Maybe it was meeting the circus girl, maybe it was the view of all these new mountains like a gateway to a new and dangerous world- but he feels like his whole life is about to be upended. His father's had so many...
-- Narrator (Chapter 1 paragraph Page 12)
This section contains 1,248 words
(approx. 4 pages at 400 words per page)


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Gender Equality: Americas Quarterly Summer 2012
Gender Equality: Political Backrooms, Corporate Boardrooms, and Classrooms
How far has the region progressed in women's rights and gender equality? The Summer 2012 issue of Americas Quarterly, to be released on Thursday, July 26, shows how despite impressive achievements in access to education and political representation, women continue to lag behind men in representation on corporate boards, in labor markets, in political party decision-making positions, and in judicial systems.
The Summer AQ looks at the barriers that remain and why achieving equality is a political, economic, and moral imperative. Click here to access AQ.
In this Issue:
AQ's signature "charticle" compares women's representation on corporate boards in developed and developing countries, details which sectors perform better in the inclusion of women, and shows how greater representation means greater returns for companies.
Girls' education has long been touted as a silver bullet to poverty alleviation and greater gender parity in the workforce. But Hugo Ñopo of the Inter-American Development Bank shows that just increasing girls' enrollment in school isn't enough. In Latin America, cultural norms and gender stereotypes, especially in the math and science, remain and have led to wage gaps between men and women.
Former president of Chile and UN Women Executive Director Michelle Bachelet discusses why violence against women should be seen as a development issue, and how empowering women economically can break those patterns. U.S. Ambassador-at-Large for Global Women's Issues Melanne Verveer explains how and why the State Department has turned women and girls' development into a strategic foreign policy objective of the U.S. government.
In judicial systems and in politics, the situation is a little better, but still far from fair. Using data from the UN, Sital Kalantry of Cornell Law School notes that Latin America now ranks second in the developing world for representation of women in judicial systems. Magda Hinojosa of Arizona State University shows that, despite increases in women's representation in national legislatures and the string of female presidents in Latin America in recent years, women remain effectively barred from representative politics at the local and party levels.
Also in this Issue:
Haiti expert and Partners in Health founder Paul Farmer warns of the risk of a cholera pandemic in the region.
Lourdes Melgar analyzes the future of state-owned PEMEX in the sexenio under President Enrique Peña Nieto.
Matias Spektor describes Brazil's shifting views on humanitarian intervention in the wake of conflict in Libya and Syria.
And David Tebaldi, who has lead people-to-people exchanges to Cuba over the past several administrations, reflects on recent changes on the island and in U.S. policy.
Press Inquiries: Contact Adriana La Rotta at email@example.com or (212) 277-8384.
Americas Quarterly: The Policy Journal for Our Hemisphere is the only magazine dedicated to policy analysis and debate of economics, finance, social development, and politics in the Western Hemisphere. Launched in 2007, AQ reaches high-level policymakers in Washington DC and throughout the region, top-level businessmen and women investing in the Americas, and new leaders in the worlds of finance, business, politics, and the media.
Visit us online at AmericasQuarterly.org and connect with us on Twitter (@AmerQuarterly) and at facebook.com/AmericasQuarterly.


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Introducing Emilia!
Each time I have the honor of photographing a new baby, I fall a little bit in love. I am in awe of their newness, the tiny fingers and toes. It is easy to see that this beautiful, baby girl is surrounded by love. Welcome to the world Emilia!
I haven't blogged about my own kids in a while now (keeping up with two means that I am busy ALL the time!) We made it back to the Tulip Festival this year. No rain, a lot of mud and the blooms weren't quite in their full glory yet. However, we had a great day whooping it up on the Cow Train, watching Lucy enjoy all of the activities and letting Gabe run wild in the tulip fields. After a very cold and rainy winter, I am in extra awe of the beauty that Spring brings to Oregon.
Evie Turns 1!
You can't tell it from the photographs, but we spent over an hour just getting this beautiful little miss to step away from her mama. However, by the time we rolled out the cake, she knew exactly what to do and wasn't shy at all about delighting in everything there is to love about birthday cake. Here in Portland, Oregon we are finally starting to see a few days without the drizzle, however a studio session is always a safe bet during our rainy season. I am dreaming about getting outside to photograph your families and now is the time to start booking spring/summer sessions. Contact me soon to reserve a spot!
Welcome to my blog! I am Leah, a wife to Grant and a mother to our Little Lucy and Baby Gabe - my inspiration, my joys and my loves. I prefer to utilize natural light to capture the joy and love in the lives of others as well. Here you will find my most recent work. Please leave a comment and follow along!
October 2017


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"You are the Hero of your own story" – Joseph Campbell
I'm an artist, I'm a girl…and I think math is cool!
Recently I cocreated a math show for PBS KIDS with writer Billy Aronson called PEG + CAT, with the premise that "math is everywhere." PEG + CAT, which is produced by The Fred Rogers Company, aims to demonstrate that math is more than just equations and numbers, and it's not just for folks born with exceptional math skills.
There's math in cooking, math when you clean your room, there's math in music, and even math in art. But often people think it's cool, and okay, NOT to be able to do math. Especially girls.
The fact is, research shows that children express the stereotype that "math is for boys, not for girls" as early as second grade, and girls are less likely than boys to pursue math in higher education or careers.
Some research has found that boys might have a leg up in math because of their more impulsive nature. Girls often favor a slow and accurate strategy, which makes them less likely to call out an answer if they aren't totally confident about it. In the short term girls win with more correct answers, but over time boys excel because their trial-and-error approach leads to further discovery and mastery.
{photo_2}In the same study, published in the Journal of Experimental Child Psychology, David Geary advises that "parents can give their children an advantage by making them comfortable with numbers and basic math before they start grade school, so that the children will have fewer trepidations about calling out answers".
Agreed, but it seems to me that this stereotype about math and girls is deeply rooted in our society, and if you look closely, the signs are everywhere.
Recently The Children's Place made a t-shirt for girls that listed all the subjects a girl can be good at: "shopping, music, and dancing". But math was left unchecked with the message underneath: "Well, nobody's perfect."
And when you search for Halloween costumes in the career category at Party City, the top choices for girls are "Celebrity Starlet," "Gothic Cheerleader," and "Cupcake Cutie." In contrast, the top picks for boys are "Astronaut," "Navy Admiral," and "Fireman."
What's striking to me is that all the boy costumes are real careers that one can aspire to. Careers where strong math skills come in very handy.
Okay, can somebody please tell me what a "Cupcake Cutie" is!?!
These are two small and seemingly harmless examples, but maybe the sum total adds to the math gender gap in this country.
I think this call to action posted by Rebecca Stanton on Facebook in response to The Children's Place t-shirt says it all:
"Stop making it fashionable for girls to be dumb."
Our show, PEG + CAT, features a strong female character, who's anything but dumb, and she's good at math!
In every show Peg and her sidekick Cat are thrust in the middle of a wacky word problem that has to be solved right away. And only by using math can they tame the chaos.
Solving the problem always involves: brainstorming, singing songs, writing things down, tripping on stuff, and trying different approaches.
Our goal is to expose preschool kids to as much math as possible, and show that it's not just for some people. Anyone can do it!
We want to empower kids, and encourage them not to be afraid to make mistakes, or to call out answers in class. We want every child to know that if you keep trying, you can solve any problem, and have more POWER over your world!
Peg can be anything she imagines, from a brave knight to a brilliant space explorer. This is the type of freedom and aspiration that I wish for girls, boys…for everybody really!
And if you ask me, math IS cool and very much in fashion.


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You don't have to be an art expert to enjoy art. But every now and then, it's nice to give the neurons a nice workout while learning a bit more about all things visual arts -- so we've assembled a list of ways you can learn more about everything from local artists and their work to becoming a successful arts entrepreneur.
Some are designed for artists, and some for art lovers. We've even found a little something for arts educators. Some happen as soon as the first week in February, so make friends with our round-up right away if you're up for a little boost in the arts I.Q. department. Check details before you go, since some of these events require registration and payment.
See also: What's the State of the Arts in Arizona? A Questionnaire for Phoenix and Beyond
Object of the Month Phoenix Art Museum February 7 and 26 (and additional dates)
These lectures, which focus on specific art objects, are free for members or included with museum admission. This month's object is Taos Indian Women by Joseph Henry Sharp. Attend a whole bunch of these lectures and you'll be able to wow all those winter visitors with your expertise on the museum's collection. For more information, call 602-257-1880 or visit www.phxart.org.
While you're there, check out the Lemon Art Research Library, a non-circulating library with more than 40,000 books, periodicals, artist files, and more -- including files on local artists. The Library's collections include materials on art criticism and art history with emphasis in Asian, Latin American, Western American, European, Modern & Contemporary, and Fashion Design. Folks can use library resources free of charge during public hours.
Art Renaissance Lectures Shemer Art Center February 12 (and additional dates)
These lectures, presented by the Phoenix-based non-profit Art Renaissance Foundation, focus on well-known artists and their works. Next up is Gustav Klimt, who worked in Vienna at the turn of the 20th century. February's presentation and slideshow is by Michael Sarda. While you're there, explore art exhibited inside the historic home's rooms transformed into galleries. For more information call 602-262-4727 or visit www.shemerartcenter.org.
Ceramic Studio Tour Locations vary February 21 and 22
A rare opportunity to explore the working and living spaces of more than 50 professional ceramic artists in metro Phoenix. The free self-guided tour presented by ASU Art Museum is a chance to meet local artists, see exhibits of functional and sculptural works, buy local art, and view artist demonstrations of wheel-throwing, hand-building, and glazing techniques. This year's 14 studio hosts include the ASU School of Art Graduate Ceramics Studio, where you can see the work of nine guest artists. For more information visit www.asuartmuseum.asu.edu/studiotour.
Arizona SciTech Festival February and March Locations vary
This year's crop of more than 800 Arizona SciTech Festival events includes several S.T.E.A.M. (science, technology, engineering, arts, and math) offerings, including the chance to visit maker spaces and learn about 3D printing and other technologies with applications for the arts. For more information visit www.azscitech.com.
Artist Talk: Postcommodity Scottsdale Museum of Contemporary Art March 19
Transdisciplinary arts collective Postcommodity -- comprised of Ravon Chacon, Cristóbal Martinez, Kade L. Twist, and Nathan Young -- discuss their two installations for SMoCA, which question common national narratives and the commodification of nature, history, and culture. For more information call 480-874-4666 or visit www.smoca.org.
For artists and/or arts professionals
Taking Your Work to the Next Level Arts Intersection February 5 to April 16
A seven-session seminar featuring focused critiques that help emerging artists and photographers in the creation of a cohesive body of work. Participants can work on practical projects such as bringing a specific project to completion, establishing a unique artistic voice, or preparing a portfolio for admission into a school or gallery. We figure it'd be cool to create a portfolio filled with jackalope art, but we're having a hard time finding jackalopes to pose for sittings. For more information call 480-361-1118 or visit www.artintersection.com.
Audiences Everywhere™ Phoenix Art Museum February 11
Arizona Commission on the Arts presents a workshop with Matt Lehrman of Audience Avenue. It's designed for non-profit arts organizations large and small, and features a "whole-organization approach to understanding your organization." Topics include shifting from a "push" to "pull" paradigm, recognizing audience personas, using social media to connect audiences with your organization's mission, and more. Lehrman founded the former Alliance for Audience & ShowUp.com, and served as CEO during a decade spent working to activate public engagement with a diverse array of Arizona arts and culture. For information call 602-771-6517 or visit www.azarts.gov.
PAVE Symposium on Entrepreneurship and the Arts ASU Memorial Union May 8 and 9
Hands-on workshops, speakers, pitch sessions, and research presentations on the theme of "Creativity and New Venture Creation in the Arts." Three presentation tracks focus on theory, practice, and pedagogy. Includes interactive creativity workshop led by Elizabeth Long-Lingo and keynote speeches by Ruby Lerner, CEO of Creative Capital, and Steven J. Tepper, Dean of the ASU Herberger Institute for Design and the Arts. For more information, call 480-965-5337 or visit www.filmdancetheatre.asu.edu.
Also check out a nifty tool created by the PAVE Program in Arts Entrepreneurship: a USB drive that's loaded up with text, templates, downloadable resources, and helpful links for arts entrepreneurs. Topics covered include budgeting, financing your work, public relations and marketing, legal issues, and public art. Our fave, of course, is the press release template. Folks can purchase the Arizona Arts Entrepreneur Toolkit for $75, and all proceeds benefit the PAVE Arts Venture Incubator -- which has helped to launch more than 20 arts and culture enterprises in and beyond metro Phoenix.
Emerging Arts Leaders Arizona Multiple events and locations
This affiliate of the national Emerging Leaders Network of Americans for the Arts is a resource for early career arts and culture administrators eager to expand their professional network and improve job-related skills. Arts professionals gathers throughout the year for networking, field trips, and professional development. We last caught up with them at Sun Up Brewing Company and Brewhouse, where ideas and conversations imbued the space with some pretty incredible energy. For more information visit www.ealphx.org.
For arts educators
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Arts Integration & Appetizers Phoenix Arts Museum February 4 (and additional dates)
Free Wednesday evening professional development series for educators that explores ways to use art objects as primary source material across the curriculum. Participants receive free teaching resources, enjoy hands on activities, take gallery tours, and more. Upcoming topics include The Power of Observation (February 4), Everyone's a Critic: Developing and Defending an Informed Opinion (March 4), and Incorporating Contemporary Art into Your Classroom Curriculum (April 1). For more information call 602-257-1880 or visit www.phxart.org.
Also explore their day-long professional development workshops for educators. Next up is Thinking in Pictures: Leonardo da Vinci's Codex Leicester and the Power of Observation on Saturday, February 21.


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- Fri, 15:37: RT @LibyaLiberty: I'm so worried about the rise of armed militias that attack my government with total impunity. No, not Libya. https://t…
- Fri, 15:42: RT @missanabeem: Ah it must be that point in the show where they try to tie together all of the plotlines. https://t.co/XHgVD6hnnh
- Fri, 17:53: RT @McClure_SF: 2nd Amendment is basically a religion in that you get to pick and choose when to wield it. https://t.co/YeCTQxNxPX
- Fri, 17:54: RT @SaraJBenincasa: Imagine being the next chick to date Anthony Weiner. Somewhere, her absentee dad just forgot to pick her up from fifth…
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Frequent Links
Sense and Sensibility (film)
Unknown extension tag "indicator"
|Sense and Sensibility
Theatrical release poster
|Directed by
|Ang Lee
|Produced by
|Lindsay Doran
|Screenplay by
|Emma Thompson
|Based on
Sense and Sensibility
by Jane Austen
|Music by
|Patrick Doyle
|Michael Coulter
|Edited by
|Tim Squyres
|Distributed by
|Columbia Pictures
Release dates
Running time
|136 minutes[1]
United Kingdom
United States
|$16 million
|Box office
Sense and Sensibility is a 1995 British–American period drama film directed by Ang Lee and based on Jane Austen's 1811 novel of the same name. Actress Emma Thompson wrote the script and stars as Elinor Dashwood, while Kate Winslet plays Elinor's younger sister Marianne. The story follows the Dashwood sisters – though they are members of a wealthy English family of landed gentry, circumstances result in their sudden destitution, forcing them to seek financial security through marriage. Actors Hugh Grant and Alan Rickman play their respective suitors. It was released on 13 December 1995 in the United States and on 23 February 1996 in the United Kingdom.
Producer Lindsay Doran, a longtime admirer of Austen's novel, hired Thompson to write the screenplay. The actress spent five years penning numerous revisions, continually working on the script between other films as well as into production of the film itself. Studios were nervous that Thompson – a first-time screenwriter – was the credited writer, but Columbia Pictures agreed to distribute the film. Though she initially intended another actress to portray Elinor, Thompson was persuaded to undertake the part herself, despite the wide disparity with her character's age.
Thompson's screenplay exaggerated the Dashwood family wealth to make their later scenes of poverty more apparent to modern audiences. It also altered the traits of the male leads to make them more appealing to contemporary viewers. Elinor and Marianne's different characteristics were emphasised through imagery and invented scenes. Ang Lee was selected as director, both due to his work in the 1993 film The Wedding Banquet and because Doran felt he would help the film appeal to a wider audience. Given a budget of $16 million, Lee approached filming from different perspectives than his cast and crew before the actors grew to trust his instincts.
A commercial success, the movie garnered overwhelmingly positive reviews upon release and received many accolades, including three awards and eleven nominations at the 1995 British Academy Film Awards. It earned seven Academy Awards nominations, including for Best Picture and Best Actress. Thompson received the Best Adapted Screenplay, becoming the only person to have won Academy Awards for both acting and screenwriting. Sense and Sensibility contributed to a resurgence in popularity for Austen's works, and has led to many more productions in similar genres. It persists in being recognised as one of the best Austen adaptations of all time.
- 1 Plot
- 2 Production
- 3 Themes and analysis
- 4 Marketing and release
- 5 Reception
- 6 Legacy and influence
- 7 See also
- 8 References
- 9 External links
On his deathbed, Mr. Dashwood (Tom Wilkinson) tells his son from his first marriage, John (James Fleet), to take care of his second wife (Gemma Jones) and three daughters, Elinor (Emma Thompson), Marianne (Kate Winslet) and Margaret (Emilie François), since they will inherit nothing. However, John's greedy and snobbish wife, Fanny (Harriet Walter), immediately convinces him to give them practically nothing financially; John and Fanny then immediately install themselves in the large house and the Dashwood ladies are forced to look for a new home. Fanny invites her brother Edward Ferrars (Hugh Grant) to stay with them. Elinor and Edward soon form a close friendship, but Fanny haughtily tells Mrs. Dashwood that Edward would be disinherited if he married someone of no importance with no money. Mrs. Dashwood understands her meaning completely.
Sir John Middleton (Robert Hardy), a cousin of the widowed Mrs. Dashwood, offers her a small cottage house on his estate, Barton Park in Devonshire. She and her daughters move in, and are frequent guests at Barton Park. The Dashwoods meet the older Colonel Brandon (Alan Rickman), who falls in love with Marianne at first sight. However, Marianne considers him an old bachelor, incapable of feeling love or inspiring it in another.
One afternoon, Marianne takes a walk with Margaret and slips and falls in the rain. She is carried home by the dashing John Willoughby (Greg Wise), with whom Marianne falls in love. They spend a great deal of time together, but on the morning she expects him to propose marriage to her, he instead leaves hurriedly for London. Unbeknownst to the Dashwood family, Brandon's ward Beth, the illegitimate daughter of his former love Eliza, is pregnant with Willoughby's child, and Willoughby's aunt Lady Allen has disinherited him upon discovering this.
Sir John's mother-in-law, Mrs. Jennings (Elizabeth Spriggs), invites her daughter and son-in-law, Mr. and Mrs. Palmer (Hugh Laurie and Imelda Staunton), to visit. They bring with them the impoverished Lucy Steele (Imogen Stubbs). Lucy confides in Elinor that she and Edward have been engaged secretly for five years, dashing Elinor's hopes of a future with him. Mrs. Jennings takes Lucy, Elinor, and Marianne to London, where they meet Willoughby at a ball. He greets Marianne uncomfortably and barely acknowledges their acquaintance, and they soon learn he is engaged to the extremely wealthy Miss Grey. Marianne becomes inconsolable.
Lucy is invited to stay with John and Fanny, as a way for Fanny to avoid inviting the Dashwood sisters to visit them. Lucy, falsely believing that she has a friend in Fanny, confides her clandestine engagement to Edward and is thrown out of the house. It is soon revealed that Edward's mother has demanded that he break off the engagement. When he refuses, his fortune is taken from him and given to his younger brother, Robert (Richard Lumsden). On hearing this, Colonel Brandon offers Edward the parish on his estate, feeling sympathy for the unfortunate but honorable Edward.
On their way home to Devonshire, Elinor and Marianne stop for the night at the country estate of the Palmers, who live five and a half miles away from Willoughby's estate. Marianne cannot resist going to see the estate; she becomes gravely ill trekking up a hill in a torrential rain. Colonel Brandon finds her in the rain and brings her home. Elinor stays at her side until she recovers, and the sisters return home. Colonel Brandon and Marianne begin spending time together, as Marianne has a new appreciation for him. She admits to Elinor that even if Willoughby had chosen her, she was no longer convinced that love would have been enough to make him happy.
The Dashwoods soon learn that Miss Steele has become Mrs. Ferrars and assume that she is married to Edward. Later when Edward visits their house they learn that Miss Steele unexpectedly jilted him in favor of his brother Robert and Edward is thus released from his engagement. Edward proposes to and marries Elinor. Edward becomes a vicar, under the patronage of Colonel Brandon, whom Marianne marries. Willoughby is seen forlornly watching their wedding from a distance, and then rides away.
Conception and adaptation
In 1989, Lindsay Doran, the new president of production company Mirage Enterprises, was on a company retreat brainstorming potential film ideas when she suggested the Jane Austen novel Sense and Sensibility to her colleagues.[2] It had been adapted three times prior to the 1995 release, most recently in a 1981 television serial.[3] Doran was a longtime fan of the novel,[4] and had vowed in her youth to someday adapt it if she ever entered the film industry.[5][6] She chose to adapt this particular Austen work because of the presence of two female leads.[7] Doran stated, "All of [Austen's] books are funny and emotional, but Sense and Sensibility is the best movie story because it's full of twists and turns. Just when you think you know what's going on, everything is different. It's got real suspense, but it's not a thriller. Irresistible."[2] She also praised the novel for possessing "wonderful characters ... three strong love stories, surprising plot twists, good jokes, relevant themes, and a heart-stopping ending."[6]
Prior to her hire at Mirage, the producer had spent years looking for a suitable screenwriter[5] – someone who was "equally strong in the areas of satire and romance" and could think in Austen's language "almost as naturally as he or she could think in the language of the twentieth century."[6] Doran read screenplays by English and American writers[8] until she came across a series of comedic skits, often in period settings, that actress Emma Thompson had written.[9][10] Doran believed the humour and style of writing was "exactly what [she'd] been searching for."[11] Thompson and Doran were already working together on Mirage's 1991 film Dead Again; a week after its completion, the producer selected Thompson to adapt Sense and Sensibility,[2] despite knowing that Thompson had never written a screenplay before.[11] A lover of Austen herself, Thompson first suggested they adapt Persuasion or Emma before agreeing to Doran's proposal.[12][13] The actress found that Sense and Sensibility contained more action than she had remembered, and decided it would translate well to drama.[14]
Thompson spent five years writing and revising the screenplay, both during and in between shooting other films.[5][15][16] Believing the novel's language to be "far more arcane than in [Austen's] later books," Thompson sought to simplify the dialogue while retaining the "elegance and wit of the original."[17] She observed that in a screenwriting process, a first draft often had "a lot of good stuff in it" but needed to be edited down, and second drafts would "almost certainly be rubbish ... because you get into a panic."[18] Thompson credits Doran for "help[ing] me, nourish[ing] me and mentor[ing] me through that process ... I learned about screenwriting at her feet."[19]
Thompson's first draft was more than three hundred handwritten pages, which required her to edit it down to a more manageable length.[20][21] She found the romances to be the most difficult to "juggle",[21] and her draft received some critical feedback for the way it presented Willoughby and Edward. Some of the criticism, Doran later recalled, held that the story did not really begin until Willoughby's arrival, with Edward sidelined as backstory. Thompson and Doran quickly realised that "if we didn't meet Edward and do the work and take that twenty minutes to set up those people ... then it wasn't going to work."[22] At the same time, Thompson wished to avoid depicting "a couple of women waiting around for men";[23] gradually her screenplay focused as much on the Dashwood sisters' relationship with each other as it did with their romantic interests.[24]
In possession of a screenplay draft, Doran next had to pitch the idea to various studios in order to finance the film, but found that many were wary of Thompson as the screenwriter. At the time, she was viewed as too risky, being an actress who had never written a film script. Columbia Pictures executive Amy Pascal supported Thompson's involvement, and agreed to sign as the producer and distributor.[2][13]
As Thompson mentioned on the BBC program QI in 2009, at one point in the writing process a laptop failure almost lost the entire work, until Thompson in panic called fellow actor and close friend Stephen Fry, the host of QI and a self-professed "geek". After seven hours, Fry was able to recover the documents from the device.[25]
Lee's hire
Despite not having heard of Austen prior to filming,[26] Taiwanese director Ang Lee was hired as a result of his work in the 1993 family comedy film The Wedding Banquet, which he co-wrote, produced, and directed. Doran felt that Lee's films, which depicted complex family relationships amidst a social comedy context, were a good fit with Austen's storylines.[24] She recalled, "The idea of a foreign director was intellectually appealing even though it was very scary to have someone who didn't have English as his first language."[9] The producer sent Lee a copy of Thompson's script, to which he replied that he was "cautiously interested".[27] Fifteen directors were interviewed, but according to Doran, Lee was one of the few who recognised Austen's humour; he told them he wanted the film to "break people's hearts so badly that they'll still be recovering from it two months later."[27]
"In some ways I probably know that nineteenth century world better than English people today, because I grew up with one foot still in that feudal society. Of course, the dry sense of humour, the sense of decorum, the social code is different. But the essence of social repression against free will – I grew up with that."
From the beginning, Doran desired that Sense and Sensibility should appeal to both a core audience of Austen aficionados as well as younger viewers attracted to romantic comedy films.[28] She felt that Lee's involvement prevented the film from becoming "just some little English movie" that appealed only to local audiences instead of to the wider world.[29] Lee said, "I thought they were crazy: I was brought up in Taiwan, what do I know about 19th-century England? About halfway through the script it started to make sense why they chose me. In my films I've been trying to mix social satire and family drama. I realised that all along I had been trying to do Jane Austen without knowing it. Jane Austen was my destiny. I just had to overcome the cultural barrier."[9] Because Thompson and Doran had worked on the screenplay for so long, Lee described himself at the time as a "director for hire", as he was unsure of his role and position.[30] He spent six months in England "learn[ing] how to make this movie, how to do a period film, culturally ... and how to adapt to the major league film industry."[30]
In January 1995, Thompson presented a draft to Lee, Doran, co-producer Laurie Borg, and others working on the production, and spent the next two months editing the screenplay based upon their feedback.[31] Thompson would continue making revisions throughout production of the film, including altering scenes to meet budgetary concerns, adding dialogue improvements, and flexibly changing certain aspects to better fit the actors.[5] Brandon's confession scene, for instance, initially included flashbacks and stylised imagery before Thompson decided it was "emotionally more interesting to let Brandon tell the story himself and find it difficult."[32]
Thompson initially hoped that Doran would cast sisters Natasha and Joely Richardson as Elinor and Marianne Dashwood. Lee and Columbia wanted Thompson herself, now a "big-deal movie star" after her critically successful role in the 1992 film Howards End, to play Elinor.[13][21] The actress replied that at the age of thirty-five, she was too old for the nineteen-year-old character. Lee suggested Elinor's age be changed to twenty-seven, which would also have made the reality of spinsterhood easier for modern audiences to understand.[24][33] Thompson agreed, later stating that she was "desperate to get into a corset and act it and stop thinking about it as a script."[21]
The formal casting process began in February 1995,[34] though some of the actors met with Thompson the previous year to help her conceptualise the script.[35] Lee eventually cast all but one of them: Hugh Grant (as Edward Ferrars), Robert Hardy (as Sir John Middleton), Harriet Walter (as Fanny Ferrars Dashwood), Imelda Staunton (as Charlotte Jennings Palmer), and Hugh Laurie (as Mr. Palmer).[34] The sixth actor, Amanda Root, was excluded, having already committed herself to star in the 1995 film Persuasion.[21] Commenting on the casting of Laurie, whom she had known for years,[36] Thompson has said, "There is no one [else] on the planet who could capture Mr. Palmer's disenchantment and redemption so perfectly, and make it funny."[37]
Thompson wrote the part of Edward Ferrars with Grant in mind,[38] and he agreed to receive a lower salary in line with the film's budget.[24] Grant called her screenplay "genius", explaining "I've always been a philistine about Jane Austen herself, and I think Emma's script is miles better than the book and much more amusing."[39] Grant's casting was met with criticism from the Jane Austen Society of North America (JASNA), who felt that he was too handsome for the part.[9] Actress Kate Winslet initially intended to audition for the role of Marianne but Lee disliked her work in the 1994 drama film Heavenly Creatures, causing her to audition for the lesser part of Lucy Steele. Winslet, however, pretended she had heard that the audition was still for Marianne, and won the part based on a single reading.[24] Thompson later noted that despite being a nineteen-year-old, Winslet approached the part "energised and open, realistic, intelligent, and tremendous fun."[40] The role helped Winslet become a recognisable movie star.[24]
Also appearing in the film was Alan Rickman, who portrayed Colonel Brandon. Thompson was pleased that Rickman was able to demonstrate the "extraordinary sweetness [of] his nature," as he had played "Machiavellian types so effectively" in other films.[41] Greg Wise was cast as Marianne's other romantic interest, John Willoughby, his most noted role thus far.[42][43] Twelve-year-old Emilie François, appearing as Margaret Dashwood, was one of the last people cast in the production, and had no professional acting experience.[44] Thompson praised the young actress in her production diaries, "Emilie has a natural quick intelligence that informs every movement – she creates spontaneity in all of us just by being there."[45] Other cast members included Gemma Jones as Mrs. Dashwood, James Fleet as John Dashwood, Elizabeth Spriggs as Mrs. Jennings, Imogen Stubbs as Lucy Steele, Richard Lumsden as Robert Ferrars, Tom Wilkinson as Mr. Dashwood, and Lone Vidahl as Miss Grey.[46]
Costume design
According to Austen scholar Linda Troost, the costumes used in Sense and Sensibility helped emphasise the class and status of the various characters, particularly among the Dashwoods.[47] They were created by Jenny Beavan and John Bright, a team of designers best known for Merchant Ivory films who began working together in 1984.[48][49] The two attempted to create accurate period dress,[47] and featured the "fuller, classical look and colours of the late 18th century."[50] They found inspiration in the works of the English artists Thomas Rowlandson, John Hopper, and George Romney, and also reviewed fashion plates stored in the Victoria and Albert Museum.[51] The main costumes and hats were manufactured at Cosprop, a London-based costumer company.[51]
To achieve the tightly wound curls fashionably inspired by Greek art, some of the actresses wore wigs while others employed heated hair twists and slept in pin curls. Fanny, the snobbiest of the characters, possesses the tightest of curls but has less of a Greek silhouette, a reflection of her wealth and silliness.[51] Beavan stated that Fanny and Mrs. Jennings "couldn't quite give up the frills," and instead draped themselves in lace, fur, feathers, jewellery, and rich fabrics.[51] Conversely, sensible Elinor opts for simpler accessories, such as a long gold chain and a straw hat.[51] Fanny's shallow personality is also reflected in "flashy, colourful" dresses,[47] while Edward's buttoned-up appearance represents his "repressed" personality, with little visible skin.[52] Each of the 100 extras used in the London ballroom scene, depicting "soldiers and lawyers to fops and dowagers," don visually distinct costumes.[47][53]
For Brandon's costumes, Beavan and Bright consulted with Thompson and Lee and decided to have him project an image of "experienced and dependable masculinity."[52] Brandon is first seen in black, but later he wears sporting gear in the form of corduroy jackets and shirtsleeves. His rescue of Marianne has him transforming into the "romantic Byronic hero", sporting an unbuttoned shirt and loose cravat. In conjunction with his tragic backstory, Brandon's "flattering" costumes help his appeal to the audience.[54] Beavan and Bright's work on the film earned them a nomination for Best Costume Design at the 68th Academy Awards.[55]
The film was budgeted at $16 million,[56][57] the largest Ang Lee had yet received as well as the largest awarded to an Austen film that decade.[58] In the wake of the success of Columbia's 1994 film Little Women, the American studio authorised Lee's "relatively high budget" out of an expectation that it would be another cross-over hit and appeal to multiple audiences, thus yielding high box office returns.[28][59] Nevertheless, Doran considered it a "low budget film"[60] and many of the ideas Thompson and Lee came up with – such as an early dramatic scene depicting Mr. Dashwood's bloody fall from a horse – were deemed unfilmable from a cost perspective.[61][62]
According to Thompson, Lee "arrived on set with the whole movie in his head".[63] Rather than focus on period details, he wanted his film to concentrate on telling a good story. He showed the cast a selection of films adapted from classic novels, including Barry Lyndon and The Age of Innocence, which he believed to be "great movies; everybody worships the art work, [but] it's not what we want to do."[57] Lee criticised the latter film for lacking energy, in contrast to the "passionate tale" of Sense and Sensibility.[57]
The cast and crew experienced "slight culture shock" with Lee on a number of occasions. He expected the assistant directors to be the "tough ones" and keep production on schedule, while they expected the same of him; this led to a slower schedule in the early stages of production.[64] Additionally, according to Thompson the director became "deeply hurt and confused" when she and Grant made suggestions for certain scenes, which was something that was not done in his native country.[9][24] Lee thought his authority was being undermined and lost sleep,[65] though this was gradually resolved as he became used to their methods.[66][67] The cast "grew to trust his instincts so completely," making fewer and fewer suggestions.[63] Co-producer James Schamus stated that Lee also adapted by becoming more verbal and willing to express his opinion.[68]
Lee became known for his "frightening" tendency to not "mince words".[69] The director often had his cast do numerous takes for a scene in order to get the perfect shot,[9][27] and was not afraid to call something "boring" if he disliked it.[69] Thompson later recalled the director would "always come up to you and say something unexpectedly crushing", such as asking her not to "look so old."[65][70] She also commented, however, that "he doesn't indulge us but is always kind when we fail."[71] Due to Thompson's extensive acting experience, the director encouraged her to practice t'ai chi to "help her relax [and] make her do things simpler."[57] Other actors soon joined them in meditating – according to Doran, it "was pretty interesting. There were all these pillows on the floor and these pale-looking actors were saying, 'What have we got ourselves into?' [Lee] was more focused on body language than any director I've ever seen or heard of."[57] He suggested Winslet read books of poetry and report back to him in order to best understand her character. He also had Thompson and Winslet live together to develop their characters' sisterly bond.[24] Many of the cast took lessons in etiquette and riding side-saddle.[72]
Lee found that in contrast to Chinese cinema,[65] he had to dissuade many of the actors from using a "very stagy, very English tradition. Instead of just being observed like a human being and getting sympathy, they feel they have to do things, they have to carry the movie."[57] Grant in particular often had to be restrained from giving an "over-the-top" performance; Lee later recalled that the actor is "a show stealer. You can't stop that. I let him do, I have to say, less 'star' stuff, the Hugh Grant thing ... and not [let] the movie serve him, which is probably what he's used to now."[57] For the scene in which Elinor learns Edward is unmarried, Thompson found inspiration from her reaction to her father's death.[73] Grant had been unaware that Thompson would cry through most of his speech, and the actress attempted to reassure him, "'There's no other way, and I promise you it'll work, and it will be funny as well as being touching.' And he said, 'Oh, all right,' and he was very good about it".[74] Lee had one demand for the scene, that Thompson avoid the temptation to turn her head towards the camera.[27]
Production of Sense and Sensibility was scheduled for fifty-eight days, though this was eventually extended to sixty-five.[14] Filming commenced in mid-April 1995 at a number of locations in Devon, beginning with Saltram House (standing in for Norland Park),[75][76] where Winslet and Jones shot the first scene of the production: when their characters read about Barton Cottage.[77] As Saltram was a National Trust property, Schamus had to sign a contract before production began, and staff with the organisation remained on set to carefully monitor the filming. Production later returned to shoot several more scenes, finishing there on 29 April.[78] The second location of filming, Flete House, stood in for part of Mrs. Jennings' London estate, where Edward first sees Elinor with Lucy.[79][80] Representing Barton Cottage was a Flete Estate stone cottage, which Thompson called "one of the most beautiful spots we've ever seen."[81]
Early May saw production at the "exquisite" village church in Berry Pomeroy for the final wedding scene.[82][83] From the tenth to the twelfth of May, Marianne's first rescue sequence, depicting her encounter with Willoughby, was shot. Logistics were difficult, as the scene was set upon a hill during a rainy day.[84] Lee shot around fifty takes, with the actors becoming soaked under rain machines; this led to Winslet eventually collapsing from hyperventilation.[65][85] Further problems occurred midway through filming, when Winslet contracted phlebitis in her leg, developed a limp, and sprained her wrist after falling down a staircase.[86]
From May to July, production took place at a number of other National Trust estates and stately homes across England. Trafalgar House and Wilton House in Wiltshire stood in for the grounds of Barton Park and the London Ballroom respectively. Mompesson House, an eighteenth-century townhouse located in Salisbury, represented Mrs. Jennings' sumptuous townhouse. Sixteenth-century Montacute House in South Somerset was the setting for the Palmer estate of Cleveland House.[87] Further scenes were shot at Compton Castle in Devon (Mr Willoughby's estate)[88] and at the National Maritime Museum in Greenwich.[89]
Composer Patrick Doyle, who had previously worked with his friend Emma Thompson in the films Henry V, Much Ado About Nothing, and Dead Again, was hired to produce the music for Sense and Sensibility.[90] Asked by the director to select existing music or compose new "gentle" melodies, Doyle wrote a score that reflected the film's events.[91][92] He explained, "You had this middle-class English motif, and with the music you would have occasional outbursts of emotion."[90] Doyle explains that the score "becomes a little more grown-up" as the story progresses to one of "maturity and an emotional catharsis."[92] The score contains romantic elements[93][94] and has been described by National Public Radio as a "restricted compass ... of emotion" with "instruments [that] blend together in a gentle sort of way".[95] They also noted that as a reflection of the story, the score is a "little wistful ... and sentimental."[95]
Two songs are sung by Marianne in the film, with lyrics adapted from seventeenth-century poems. Lee believed that the two songs conveyed the "vision of duality" visible both in the novel and script.[91] In his opinion, the second song expressed Marianne's "mature acceptance," intertwined with a "sense of melancholy".[91] The melody of "Weep You No More Sad Fountains", Marianne's first song, appears in the opening credits, while her second song's melody features again during the ending credits, this time sung by dramatic soprano Jane Eaglen.[91] The songs were written by Doyle before filming began.[96] The composer received his first Academy Award nomination for his score.[94]
Thompson and Doran discussed how much of the love stories to depict, as the male characters spend much of the novel away from the Dashwood sisters. The screenwriter had to carefully balance the amount of screentime she gave to the male leads, noting in her film production diary that such a decision would "very much lie in the editing."[97] Thompson wrote "hundreds of different versions" of romantic storylines. She considered having Edward re-appear midway through the film before deciding that it would not work as "there was nothing for him to do."[97] Thompson also opted to exclude the duel scene between Brandon and Willoughby, which is present in the novel, because it "only seemed to subtract from the mystery."[97] She and Doran agonised about when and how to input Brandon's backstory, as they wanted to prevent viewers from becoming bored. Thompson described the process of reminding audiences of Edward and Brandon as "keeping plates spinning".[98]
A scene was shot of Brandon finding his ward in a poverty stricken area in London, but this was edited out.[99] Thompson's script included a scene of Elinor and Edward kissing, as the studio "couldn't stand the idea of these two people who we've been watching all the way through not kissing."[100] However, it was one of the first scenes cut during the editing process: the original version was over three hours, Lee was less interested in the story's romance, and Thompson found a kissing scene to be inappropriate. The scene was still included in marketing materials and the film trailer.[100][101][102] Thompson and Doran also cut out a scene depicting a remorseful Willoughby when Marianne is sick. Doran said that despite it "being one of the great scenes in book history," they could not get it to fit into the film.[103]
Tim Squyres edited the film, his fourth collaboration with Ang Lee. He reflected in 2013 of his editing process, "It was the first film that I had done with Ang that was all in English, and it's Emma Thompson, Kate Winslet, Alan Rickman, and Hugh Grant — these great, great actors. When you get footage like that, you realise that your job is really not technical. It was my job to look at something that Emma Thompson had done and say, 'Eh, that's not good, I'll use this other one instead.' And not only was I allowed to pass judgment on these tremendous actors, I was required to."[104]
Themes and analysis
Changes from source material
Scholar Louise Flavin has noted that Thompson's screenplay contains significant alterations to the characters of Elinor and Marianne Dashwood: in the novel, the former embodies "sense" and the latter, "sensibility", but Lee's film turns these two characteristics around. Audience members are meant to view self-restrained Elinor as the person in need of reform, rather than her impassioned sister.[105][106] To heighten the contrast between them, Marianne and Willoughby's relationship includes an "erotic" invented scene in which the latter requests a lock of her hair – a direct contrast with Elinor's "reserved relationship" with Edward.[102] Lee also distinguishes them through imagery – Marianne is often seen with musical instruments, near open windows, and outside, while Elinor is pictured in door frames.[107] Another character altered for modern viewers is Margaret Dashwood, who conveys "the frustrations that a girl of our times might feel at the limitations facing her as a woman in the early nineteenth century."[108] Thompson uses Margaret for exposition in order to detail contemporary attitudes and customs. For instance, Elinor explains to a curious Margaret – and by extension, the audience – why their half-brother inherits the Dashwood estate.[108] Margaret's altered storyline, now containing an interest in fencing and geography, also allows audience members to see the "feminine" side of Edward and Brandon, as they become father or brother figures to her.[102][109][110] Furthermore, the film omits the characters of Lady Middleton and her children, as well as that of Ann Steele, Lucy's sister.[111]
"The changes that Emma Thompson's screenplay makes to the male characters, if anything, allow them to be less culpable, more likeable, and certainly less sexist or patriarchal."
When adapting the characters for film, Thompson found that in the novel, "Edward and Brandon are quite shadowy and absent for long periods," and that "making the male characters effective was one of the biggest problems. Willoughby is really the only male who springs out in three dimensions."[41] Several major male characters in Sense and Sensibility were consequently altered significantly from the novel in an effort to appeal to contemporary audiences.[113] Grant's Edward and Rickman's Brandon are "ideal" modern males who display an obvious love of children as well as "pleasing manners", especially when contrasted with Palmer.[112] Thompson's script both expanded and omitted scenes from Edward's storyline, including the deletion of an early scene in which Elinor assumes that a lock of hair found in Edward's possession is hers, when in actuality it belongs to Lucy. These alterations have been viewed as an effort to make him more realised and honourable than in the novel and increase his appeal to viewers.[102][114] The character of Brandon also sustains alterations; to gradually show viewers why Brandon is worthy of Marianne's love, Thompson's screenplay has his storyline directly mirroring Willoughby's – they are both similar in appearance, share a love of music and poetry, and rescue Marianne in the rain while on horseback.[102][115][116]
Thompson viewed the novel as a story of "love and money," noting that some people needed one more than the other.[117] During the writing process, executive producer Sydney Pollack stressed that the film be understandable to modern audiences, and that it be made clear why the Dashwood sisters could not just obtain a job.[5] "I'm from Indiana; if I get it, everyone gets it," he said.[118] Thompson believed that Austen was just as comprehensible in a different century, "You don't think people are still concerned with marriage, money, romance, finding a partner?"[9][119] She was keen on emphasising the realism of the Dashwoods' predicament in her screenplay,[120] and inserted scenes to make the differences in wealth more apparent to modern audiences. Thompson made the Dashwood family richer than in the book and added elements to help contrast their early wealth with their later financial predicament; for instance, because it might have been confusing to viewers that one could be poor and still have servants, Elinor is made to address a large group of servants at Norland Park early in the film for viewers to remember when they see their few staff at Barton Cottage.[121] Lee also sought to emphasise social class and the limitations placed on the protagonists.[122] Lee conveys this in part when Willoughby publicly rejects Marianne; he returns to a more lavishly furnished room, a symbol of the wealth she has lost access to.[123][124] "Family dramas," he stated, "are all about conflict, about family obligations versus free will."[125]
The film's theme of class has attracted much scholarly attention. Carole Dole noted that class constitutes an important element in Austen's stories and is "impossible" to avoid when adapting her novels. According to Dole, Lee's film contains an "ambiguous treatment of class values" that stresses social differences but "underplays the consequences of the class distinctions so important in the novel";[126] for instance, Edward's story ends upon his proposal to Elinor, with no attention paid to how they will live on such a small annual income from the vicarage.[4] Louise Flavin believed that Lee used the houses to represent their occupants' class and character: the Dashwood sisters' decline in eligibility are represented through the spacious rooms of Norland Park and the isolated, cramped Barton Cottage.[127] James Thompson stated that Sense and Sensibility depicts an anaesthetised "mélange of disconnected picture postcard-gift-calendar-perfect scenes," in which little connection is made between "individual subjects and the land that supports them."[128] Andrew Higson argued that while Sense and Sensibility includes commentary on sex and gender, it fails to pursue issues of class. Thompson's script, he wrote, displays a "sense of impoverishment [but is] confined to the still privileged lifestyle of the disinherited Dashwoods. The broader class system is pretty much taken for granted."[129] The ending visual image of flying gold coins, depicted during Marianne's wedding, has also drawn attention; Marsha McCreadie noted that it serves as a "visual wrap-up and emblem of the merger between money and marriage."[130]
Gender has been seen as another major theme of the film, often intersecting with class. Penny Gay observed that Elinor's early dialogue with Edward about "feel[ing] idle and useless... [with] no hope whatsoever of any occupation" reflected Thompson's background as a "middle class, Cambridge-educated feminist."[131] Conversely, Dole wrote that Thompson's version of Elinor "has a surprising anti-feminist element to it," as she appears more dependent on men than the original character; the film presents her as repressed, resulting in her emotional breakdown with Edward.[132] Linda Troost opined that Lee's production prominently features "radical feminist and economic issues" while "paradoxically endorsing the conservative concept of marriage as a woman's goal in life."[133] Despite this "mixed political agenda," Troost believed that the film's faithfulness to the traditional heritage film genre is evident through its use of locations, costumes, and attention to details, all of which also emphasize class and status.[47] Gay and Julianne Pidduck stated that gender differences are expressed by showing the female characters indoors, while their male counterparts are depicted outside confidently moving throughout the countryside.[134][135] Nora Stovel observed that Thompson "emphasises Austen's feminist satire on Regency gender economics," drawing attention not only to the financial plight of the Dashwoods but also to eighteenth century women in general.[102]
Marketing and release
In the United States, Sony and Columbia Pictures released Sense and Sensibility on a slow schedule compared to mainstream films, first premiering it on 13 December 1995.[28] Believing that a limited release would position the film both as an "exclusive quality picture" and increase its chances of winning Academy Awards, Columbia dictated that its first weekend involve only seventy cinemas in the US; it opened in eleventh place in terms of box office takings and earned $721,341.[68][136][137] To benefit from the publicity surrounding potential Academy Award candidates and increase its chance of earning nominations, the film was released within "Oscar season".[28] The number of theatres showing Sense and Sensibility was slowly expanded, with particular surges when its seven Oscar nominations were announced and at the time of the ceremony in late March, until it was present in over one thousand cinemas across the US.[136] By the end of its American release, Sense and Sensibility had been watched by more than eight million people,[138] garnering an "impressive" total domestic gross of $43,182,776.[136][139]
On the basis of Austen's reputation as a serious author, the producers were able to rely on high-brow publications to help market their film. Near the time of its US release, large spreads in The New York Review of Books, Vanity Fair, Film Comment, and other media outlets featured columns on Lee's production.[140] In late December, Time magazine declared it and Persuasion to be the best films of 1995.[141] Andrew Higson referred to all this media exposure as a "marketing coup" because it meant the film "was reaching one of its target audiences."[140] Meanwhile, most promotional images featured the film as a "sort of chick flick in period garb."[140] New Market Press published Thompson's screenplay and film diary;[142][143] in its first printing, the hard cover edition sold 28,500 copies in the US.[144] British publisher Bloomsbury released a paperback edition of the novel containing film pictures, same title design, and the cast's names on the cover, whilst Signet Publishing in the US printed 250,000 copies instead of the typical 10,000 a year; actress Julie Christie read the novel in an audiobook released by Penguin Audiobooks.[145][146] Sense and Sensibility increased dramatically in terms of its book sales, ultimately hitting tenth place on the The New York Times Best Seller list for paperbacks in February 1996.[147]
In the United Kingdom, Sense and Sensibility was released on 23 February 1996 in order to "take advantage of the hype from Pride and Prejudice", another popular Austen adaptation recently broadcast. Columbia Tristar's head of UK marketing noted that "if there was any territory this film was going to work, it was in the UK."[136] After receiving positive responses at previews, marketing strategies focused on selling it as both a costume drama and as a film attractive to mainstream audiences.[148] Attention was also paid to marketing Sense and Sensibility internationally. Because the entire production cycle had consistently emphasised it as being "bigger" than a normal British period drama literary film, distributors avoided labelling it as "just another English period film."[149] Instead, marketing materials featured quotations from populist newspapers such as the Daily Mail, which compared the film to Four Weddings and a Funeral (1994).[149] It was watched by more than ten million viewers in Europe.[138] Worldwide, the film ultimately grossed $134,582,776,[137] a sum that reflected its commercial success.[68][150] It had the largest box office gross out of the Austen adaptations of the 1990s.[58]
Critical response
"This Sense And Sensibility is stamped indelibly by Ang Lee's characteristically restrained direction ... Although somewhat older than one might expect Elinor to be, Emma Thompson invests the character with a touching vulnerability, while Kate Winslet, who made such an eye catching debut in Heavenly Creatures last year, perfectly catches the confusions within the idealistically romantic but betrayed Marianne."
Sense and Sensibility has received overwhelmingly positive reviews from film critics,[152] and was included on more than a hundred top-ten of the year lists.[24] Writing for Variety magazine, Todd McCarthy observed that the film's success was assisted by its "highly skilled cast of actors," as well as its choice of Lee as director. McCarthy clarified, "Although [Lee's] previously revealed talents for dramatizing conflicting social and generational traditions will no doubt be noted, Lee's achievement here with such foreign material is simply well beyond what anyone could have expected and may well be posited as the cinematic equivalent of Kazuo Ishiguro writing The Remains of the Day."[153]
Mick LaSalle of the San Francisco Chronicle lauded the film for containing a sense of urgency "that keeps the pedestrian problems of an unremarkable 18th century family immediate and personal."[154] LaSalle concluded that the adaptation has a "right balance of irony and warmth. The result is a film of great understanding and emotional clarity, filmed with an elegance that never calls attention to itself."[154] Film critic John Simon praised most of the film, particularly focusing on Thompson's performance, though he criticised Grant for being "much too adorably bumbling ... he urgently needs to chasten his onscreen persona, and stop hunching his shoulders like a dromedary."[155]
In The Mail on Sunday, William Leith found Sense and Sensibility to be "an extremely sharp, subtle, clever, lovely looking film" that was superior to the serial Pride and Prejudice. Leith especially saved praise for the cast, writing that Grant plays his role "masterfully" and Harriet Walter "conveys sour bitchiness like you never thought she could."[156] Jarr Carr of The Boston Globe thought that Lee "nail[ed] Austen's acute social observation and tangy satire," and viewed Thompson and Winslet's age discrepancy as a positive element that helped feed the dichotomy of sense and sensibility.[157] The Radio Times ' David Parkinson was equally appreciative of Lee's direction, writing that he "avoid[s] the chocolate-box visuals that cheapen so many British costume dramas" and "brings a refreshing period realism to the tale of two sisters that allows Emma Thompson's respectful Oscar-winning script to flourish."[158]
Out of the 1990s Austen adaptations, Sense and Sensibility received the most recognition from Hollywood.[159] It garnered seven nominations at the 68th Academy Awards ceremony, where Thompson received the Award for Best Adapted Screenplay,[160] making her the only person to have won an Oscar for both her writing and acting (Thompson won the Best Actress award for Howards End, in 1993).[161][162] The film also was the recipient of twelve nominations at the 49th British Academy Film Awards, including Best Film, Best Actress in a Leading Role (for Thompson), and Best Actress in a Supporting Role (for Winslet).[163] In addition, the film won the Golden Bear at the 46th Berlin International Film Festival,[164] making Lee the first director to win this twice.[158]
Despite the recognition given to the film, Lee was not nominated for the Academy Award for Best Director (though he was nominated for the Golden Globe). The scholar Shu-mei Shih and the journalist Clarence Page have attributed this snub to Hollywood's racism against Lee, and Chinese cinema in general.[165][166] Lee sought to avoid turning his omission into a scandal and specifically asked the Taiwan state media not to make it a "national issue," explaining that he endured more pressure when forced to act as his country's representative.[167]
Legacy and influence
Sense and Sensibility was the first English-language period adaptation of an Austen novel to appear in cinemas in over fifty years, the previous being the 1940 film Pride and Prejudice.[168][169] The year 1995 saw a resurgence of popularity for Austen's works, as Sense and Sensibility and Pride and Prejudice both rocketed to critical and financial success.[170][171] The two adaptations helped draw more attention to the previously little-known 1995 television film Persuasion, and led to more Austen adaptations in the following years.[172] In 1995 and 1996, six Austen adaptations were released onto film or television.[169] The filming of these productions led to a surge in popularity at many of the landmarks and locations depicted;[91] according to the scholar Sue Parrill, they became "instant meccas for viewers."[16]
When Sense and Sensibility was released in cinemas in the US, Town & Country published a six-page article entitled "Jane Austen's England", which focused on the landscape and sites shown in the film. A press book released by the studio, as well as Thompson's published screenplay and diaries, listed all the filming locations and helped to boost tourism. Saltram House for instance was carefully promoted during the film's release, and saw a 57 percent increase in attendance.[173][174] In 1996, JASNA's membership increased by fifty percent.[175] The popularity of both Sense and Sensibility and Pride and Prejudice led to the BBC and ITV releasing their Austen adaptations from the 1970s and 1980s onto DVD.[176]
As the mid-1990s included adaptations of four Austen novels, little room was left to adapt the author's other remaining works. Andrew Higson argued that as a result, the adaptations left a "variety of successors" in the genres of romantic comedy and costume drama, as well as with films featuring strong female characters. Cited examples included Mrs Dalloway (1997), Mrs. Brown (1997), Shakespeare in Love (1998), and Bridget Jones's Diary (2001).[177] In 2008, Andrew Davies, the screenwriter of Pride and Prejudice, adapted Sense and Sensibility for television. As a reaction to Lee's overly "sentimental" film, this production featured events found in the novel but excluded from Thompson's screenplay, such as Willoughby's seduction of Eliza and his duel with Brandon. It also featured actors closer to the ages in the source material.[178]
Sense and Sensibility has maintained its popularity into the twenty-first century. In 2004, Louise Flavin referred to the 1995 film as "the most popular of the Austen film adaptations,"[179] and in 2008, The Independent ranked it as the third best Austen adaptation of all time, opining that Lee "offered an acute outsider's insight into Austen in this compelling 1995 interpretation of the book [and] Emma Thompson delivered a charming turn as the older, wiser, Dashwood sister, Elinor."[180] Journalist Zoe Williams credits Thompson as the person most responsible for Austen's popularity, explaining in 2007 that Sense and Sensibility "is the definitive Austen film and that's largely down to her."[181] In 2011, The Guardian film critic Paul Laity named it his favourite film of all time, partly because of its "exceptional screenplay, crisply and skilfully done."[182]
See also
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- ^ Parrill 2002, pp. 21, 24.
- ^ a b Dole 2001, p. 63.
- ^ a b c d e Stempel 2000, p. 249.
- ^ a b c Doran 1995, p. 11.
- ^ Dobie 2003, p. 249.
- ^ Doran 1995, p. 12.
- ^ a b c d e f g "Jane Austen does lunch". The Daily Beast. 17 December 1995. Retrieved 13 August 2011.
- ^ Leydon, Joe (5 January 1996). "Thompson sees a lot of sense in Jane Austen's sensibilities". Chicago Tribune. Retrieved 16 August 2011.
- ^ a b Doran 1995, p. 13.
- ^ Doran 1995, pp. 12–13.
- ^ a b c Silverstein, Melissa (24 August 2010). "Interview with Lindsay Doran: Producer Nanny McPhee returns". The Huffington Post. Retrieved 7 December 2012.
- ^ a b Thompson 1995, p. 209.
- ^ Thompson 1995, p. 208.
- ^ a b Parrill 2002, p. 6.
- ^ Thompson 1995, p. 252.
- ^ Thompson & Doran 1995, 01:33:00–01:33:25.
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- ^ Gay 2003, p. 92.
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- ^ https://www.youtube.com/watch?v=_J71EaybVMA BBC QI Episode (clip) with Emma Thompson discussing the near-loss of the Script (at 00:03:00)
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External links
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- Sense and Sensibility at Metacritic