Jane Austen’s Men: Sense and Sensibility

With Colonel Brandon and Edward Ferras, Sense and Sensibility gives us two very different heroes to compare. Both men are on an equal social footing, being wealthy and respectable gentlemen. Their paths diverge from there, though. 

Colonel Brandon is a second son, whereas Edward is an elder son. This doesn’t sound like a big deal as it is the starting point for discussing personality traits. But, economic freedom is a big thing for Ms. Austen. That freedom plays into how these men react to the situations they find themselves in.

You’d think Edward Ferras would be the more confident and independent of the two as he is the benefactor of an inheritance. But, no. His financial freedom comes with strings attached. His choices are always hesitating. In some cases, he’s secretive with his wants. 

Brandon is free of those obligations, being a second son who established himself in a career before inheriting his family’s fortune. He can, in some respects, act without the crippling hesitation Edward is subject to. But only in some ways. He is still subject to his past and the pain he’s been through.

These two heroes don’t offer the same confidence as Mr. Darcy and Mr. Knightley, but they have been touched by the world with a much colder hand. I almost want to throw in Captain Wentworth in here because he too got the stick’s short end. Let’s not mingle books right now. Instead, let’s go beyond the page and into the movie adaptations.

Specifically, the 1995 Ang Lee version and the 2008 BBC mini-series. It seems only fair to revisit the gentlemen as promised, although Willoughby will have to wait. An Austen villain piece might be in order.

Now, in one corner, we have Alan Rickman and Hugh Grant. In the other corner, the challengers’ Dan Stevens and David Morrissey. Of course, now I can’t get the picture of Professor Snape and the Prime Minister facing off against The Governor and The Beast. I think in that situation, no matter how powerful Snape was, he wouldn’t be able to carry the team to victory. 

But, from a portrayal standpoint, I’m not sure the outcome would be the same. And that’s the matchup we’re here for.

In the 2008 mini-series, I think Colonel Brandon gets a fairer shake than in the version made for the big screen. Audiences get to see Marianne being interested in him. Alright, maybe it’s more like curious. But either way, she was giving him the time of day, which doesn’t happen in Ang Lee’s version until her third or fourth time getting caught in the rain. 

As the Willoughby drama starts to unfold, you feel for Brandon. He can’t compete with Willoughby’s light-heartedness and charm. But he stands by, waiting for another chance and holding vigil to make sure no harm comes Marianne’s way.

David Morrissey puts up a perfectly reserved performance as the lovelorn Colonel. Ar first, I thought I would have a hard time seeing Morrissey as anything but The Governor. Maybe it was the waistcoats or perhaps the pianoforte, but the images faded away after an initial chuckle.

Really, my only critique, and I’m not even sure this was on Morrissey’s performance, is the relationship between Brandon and Elinor was a bit stunted. It always felt to me that Brandon gravitated toward Elinor. Not in a romantic sense, but a purely platonic one. As if she was the emotional anchor he had never had. And he was the elder brother Elinor had always wanted. Sorry John, you just didn’t cut the mustard.

In the mini-series, the two characters didn’t connect on that same level. And it makes me wonder if that’s why they cut the scene where Brandon charges Elinor with presenting his offer of a living to Edward. They probably didn’t have time, but it would have felt weird and awkward if they had.

Alan Rickman and Emma Thompson, on the other hand, had no such problem with platonic chemistry. When watching the 1995 version, audiences absolutely get a sense of mutual respect and admiration. Thompson, as Elinor attempts to thwart Brandon from assisting in their escape from London, but it is clearly a half-hearted attempt. She leans into the generosity as a proud younger sister would.

It’s a tough match to call. Rickman and Morrissey are two incredibly talented actors. But, I set myself up to choose a victor. By a hair, I’d say that Rickman puts forward the better Colonel Brandon.

But what about Edward Ferras? Who wins there? 

Both Stevens and Grant have an awkward charm about them. That is plainly evident to anyone who’s seen even a single episode of Downton in Stevens case or any of Grant’s work. This is essential for any actor taking up the mantle of Edward Ferras. Although Grant had perfected this chem long before starring as Ferras, I think the slightly unpolished version Dan Stevens gives audiences works a bit better for the character.

Dan Stevens also gives the audience a glimpse of the character’s frustration that is missing from Ang Lee’s adaptation. In his brief visit to the Dashwood’s new residence, we get to see Edward buckle under the pressure of his secret engagement. I enjoyed watching Stevens breathe more feeling into dear Edward. It made his character more believable.

Despite the mini series’s longer running time, I think the 1995 version benefits from off-screen relationships. Thompson and Grant had already worked in several movies together by the time Sense and Sensibility was cast. When these two are on screen together, there is an omnipresent comfort and familiarity between them.

This is the tougher matchup to call, but I am going to give the win here to Dan Stevens. I know that might be an unpopular choice. Hugh Grant is a fan favorite, especially with his performance in Sense and Sensibility. Stevens managed to imbue the character with a little more zest, which was sorely needed.