The New Sense and Sensibility Film Takes Us to Bucolic Devon and Dorset

A Film About Contrasts, Set in Beautiful Landscapes

Jane Austen's Sense and Sensibility is a narrative rich with contrasts. The Dashwood sisters, Elinor and Marianne, embody divergent perspectives on love, family, and happiness. Elinor, characterized by her reserved and pragmatic nature, finds herself attracted to the quietly charming Edward Ferrars. In contrast, the more spontaneous Marianne becomes entangled in a passionate affair with the charismatic yet reckless John Willoughby. As romance ebbs into heartbreak, misunderstandings abound, and the sisters face difficult choices, their differing opinions underscore the film's themes. However, one commonality emerged during production: the cast and crew unanimously recognized the West Country as an ideal backdrop.

"We just fell in love with the West Country, Devon and Dorset," notes location manager Ian Hutchinson, reflecting on his experiences on set. "It was a lovely time making a beautiful movie."

This sentiment resonates deeply, as landscape plays a vital role in the story. Following the death of their father, the Dashwood sisters are compelled to leave their family home in Sussex, encountering economic instability alongside their mother. Their relocation to a modest residence in Devon necessitates navigating the complex expectations of love and marriage prevalent in Regency society. The grand country estates, windswept moors, and historic settings framing their narrative serve as an exquisite backdrop to their evolving fortunes.

The final cinematography is predictably stunning, guiding viewers from the noble estates of Dorset through the wild expanses of Dartmoor and into Regency London, ultimately leading to the opulent palaces of Buckinghamshire. England’s serpentine lanes, rain-drenched woodlands, stately homes, and rugged landscapes emerge as vital elements of the storytelling.

Kingston Maurward House and Parnham Park, Dorset

In the novel, the Dashwoods' expansive and cherished Norland Park resides in Sussex. However, for the film adaptation, production utilized two distinct locations in Dorset to capture the romantic essence of their home. Kingston Maurward House provided a striking primary setting with its majestic 16th-century architecture and expansive grounds, which aligned perfectly with the envisioned aesthetic.

Still, this location lacked the essential lake situated at the rear of the garden, where the sisters frequently convened. For that aspect, Parnham Park became the ideal complement, with its charming wooden bridge and serene lake completing the portrait of the Dashwoods' idyllic estate. Although Ian Hutchinson initially did not hold sentimental attachments to this park, he quickly adapted to its remarkable surroundings: "This is not just a body of water; this is a sea of wildlife!"

This discovery enabled the filmmakers to enhance their scenes, allowing for a more profound representation than initially anticipated. "We were always hungry for more," Ian observes.

Dartmoor National Park, Devon

The production team experienced a transformative phase when they transitioned to Dartmoor for the scenes set in Barton Cottage, the substantially more modest residence to which the Dashwood women are forced to relocate post-bereavement. Identifying the perfect property proved challenging, as the team sifted through approximately 50 secluded locations within the region to locate one that accurately conveyed the intended isolation, a search that began three months prior to filming.

"A lot of properties in the area have had extensive modern renovations," elaborates Ian. "We were like, 'How do we bring that look down?'"

Ultimately, they selected a completely derelict stone structure devoid of doors and windows, situated deep within the national park near Plymouth. After discovering it, the crew ingeniously built a custom two-story stage set within the ruins, facilitating a seamless visual transition as director Georgia Oakley guided characters between the tight interiors and the expansive landscapes of Devon. "We built a false floor to create an upper ground, constructed the stairs, and devised a box within a box," says Ian. "It created that striking contrast between Barton and Norland."

This undertaking was not without its difficulties. For instance, addressing the bats' nest was a prominent concern, necessitating a bat specialist who monitored the property for several nights to assess local bat activity. If any bats were present in filming areas, production would have been hindered.

"Bats are very protected!" Ian points out. "We had to conduct a complete ecological survey of the region. Many conservationists advised against filming there, but we implemented measures—albeit time-consuming and costly—and upon convincing everyone of our plans not to disrupt anything, we secured a permit."

The remote setting also posed logistical challenges. "One moment we'd have beautiful sunny skies, and the next we'd be faced with torrential rain, thunder, and lightning," describes Ian. "We also dealt with mud while being located 40 to 50 minutes away from any amenities in Plymouth. Coordinating lunches became a task in itself."

Dartmoor’s iconic Haytor, distinguished by its unique rugged rock formations, also served as a backdrop for one of the film’s significant travel montages. The team arranged for a horse and carriage to traverse its steep granite paths at dawn. "Very few productions film there, and even fewer experience it at dawn," Ian remarks. "Standing there at four in the morning with the dawn light illuminating the sky... I genuinely thought, 'This is why I love my job.'"

Knebworth House and Broughton Castle, Hertfordshire and Oxfordshire

In a notable twist in the plot, Marianne famously takes an ill-fated walk in the rain near Cleveland House, leading to her serious illness. This somber shift in tone reflects in the interiors, prompting the team to pair Knebworth House in Hertfordshire—renowned for its Gothic exterior—with the interiors of Broughton Castle, located near Banbury, to depict this poignant moment in the narrative, ensuring an ominous atmosphere throughout.

"In that era, multiple architectural styles coexisted. Knebworth conveys a striking Gothic exterior but feels distinct internally, characterized by rich wood paneling," explains Ian. "Conversely, the interiors of Broughton very much evoke the ambiance of a Gothic castle."

Rainham Hall and Lincoln's Inn, London

To portray the confined and stifling environment of Georgian London without resorting to modern set constructions, the team sought historic locations in and around the capital that have remained minimally altered since their construction. National Trust property Rainham Hall in Havering was utilized to represent the interiors of Mrs. Jennings' residence at Portman Square—an especially suitable choice due to its preserved historic rooms, now serving as a museum.

"We aimed for authentic locations with genuine age," emphasizes Ian. "We didn't want viewers questioning whether what they saw on screen was a built set; we wanted it to feel genuine."

For the street scenes and exteriors, filming took place at Lincoln's Inn in Holborn, an area that retains diverse period features without many intrusive modern additions. This authenticity allowed the production team to entirely eschew artificial studio settings.

"A few electrical lines connecting buildings, a satellite dish, and necessary road markings required alteration, but it was gratifying to use a segment of London that still embodies the historic essence of old London," Ian observes. "Throughout the film, our focus was not on recreating but rather on harnessing existing locations to construct our envisioned world."

West Wycombe Park, Buckinghamshire

The opulent Italianate architecture of West Wycombe Park provided the ideal visual indicator of the immense affluence and stringent social status of the Ferrars family. The historic Palladian house required minimal set dressing from the production’s art department.

"We identified this as the desired aesthetic due to its contrast with the rest of the film," Ian notes. "Visually, it elevates the narrative’s class disparities with exquisite Italian draperies and wallpapers; it clearly delineates social standings. We intentionally utilized contrasting locations throughout the film to highlight characters' varied levels of wealth and lifestyles through the properties they inhabited."

Blenheim Palace, Oxfordshire

Sometimes, the simplest shots prove the most challenging; a case illustrated by the director's request for a specific hero image: a carriage mirrored perfectly in water as it traverses the estate grounds. "Believe it or not, that was hard to find," admits Ian. "If the bridge is too elevated and the water too shallow, achieving the perfect reflection proves impossible."

After an extensive five-month search, the team ultimately located this ideal shot within the grounds of Blenheim Palace in Woodstock. The effort proved worthwhile, culminating in a scene that stands out among the film’s most beautiful visuals.

"It probably took only about three hours of waiting for the right lighting to capture the moment after we finally discovered the bridge," Ian recounts. "While I attended to other critical tasks, I continued searching. We found it right at the end, and it became one of our final shots."