i

THE ANALYSIS OF MORAL VALUES IN THE FILM

ENTITLED “SENSE AND SENSIBILITY” ADAPTED FROM
JANE AUSTEN’S NOVEL AND ITS APPLICATION IN
ENGLISH LANGUAGE TEACHING

A THESIS

Submitted to the English Department of a Teacher Training and Educational

Sciences Faculty of Muhammadiyah University of Purworejo in Partial
Fulfillment of The Requirements for The Sarjana Pendidikan Degree

By
Suci Lestari
082120200

ENGLISH DEPARTMENT
FACULTY OF TEACHER TRAINING AND EDUCATIONAL SCIENCES
MUHAMMADIYAH UNIVERSITY OF PURWOREJO
2012
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DEDICATIONS

This thesis is dedicated to :

 My beloved parents, my father, Sunarto, and my mother, Ngatmi, thanks for

your love, support, advice, attention and understanding... I love you very

much.

 Budhe Sumarti, thanks for your support, attention, prayer and everything.

 My sisters , Rusdiana Safitri and Mistri Priyanti, thanks for your support and

prayer.

 My best friends Tari, Tika, Ambar, Titin, Wahyu, Ari, thanks for our

friendship, togetherness and everything.

 My sweet heart, Sugeng Bejo Susanto, thank for your love, kindness, and

patience in accompany me, and also give me happiness and colourful day in

my life.

 My beloved friends in the English Department that I can not mention one by

one. Thanks for your friendship.

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ACKNOWLEDGEMENT

Alhamdulillahirobbil’alamin, in the name of Allah SWT, the Merciful, the

Compassionate Praise be to Allah, the Most Beneficial, who has given his

Blessing without which the researcher would never have completed this thesis.

It was difficult for her to complete this thesis without the help of others.

Therefore, she would like to express her deepest and sincerest gratitude to :

1. Drs. H. Supriyono, M.Pd, as the Rector of Muhammadiyah University of

Purworejo.

2. Drs. H. Hartono, M.M, as the Dean of the Faculty of Teacher Training and

Educational Sciences of Muhammadiyah University of Purworejo.

3. Semi Sukarni, M.Pd, as the Head of English Department of the Teacher

Training and Educational Sciences of Muhammadiyah University of

Purworejo.

4. Drs. Soetrisman, M.Sc, as her consultant, for his willingness to share

knowledge, time, and patience in guiding her during the writing process of

this thesis.

5. All lecturers of the English Department of Muhammadiyah University of

Purworejo, for their knowledge.

6. Her beloved family and friends, for their support, understanding, and

everything they have given to her.

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She is greatly aware that this thesis is far from being perfect even though it

is the result of some hard work. However, she still hopes that this thesis may

benefit to the readers. Finally , any constructive criticism to correct this thesis will

be highly appreciated.

Purworejo, July 2012

The researcher

Suci Lestari

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TABLE OF CONTENTS

Page of Title ………………………………………………………………... i

Approval Sheet ……………………………………………………………... ii
Ratification Sheet …………………………………………………………... iii
Statement …………………………………………………………............. Iv
Mottos ……………………………………………………………………… V
Dedication ………………………………………………………………….. Vi
Acknowledgement………………………………………………………….. Vii
Table of Contents …………………………………………………………... ix
Abstract …………………………………………………………………….. Xi

CHAPTER I INTRODUCTION
A. Background of the study............................................... 1
B. Reason for Choosing Topic.......................................... 4
C. Limitation of the Study ............................................... 4
D. Statement of the Problem ........................................... 5
E. Objectives of the Study................................................ 5
F. Significance of the Study ............................................ 6
G. Definition of Term and Notation .................................. 6
H. Organization of Writing................................................. 10

CHAPTER II REVIEW OF RELATED LITERATURE

A. Definition of Literature................................................ 11
B. Definition Film or Movie ............................................. 12
C. The Intrinsic Elements of Film..................................... 17
D. Definition of Moral Values........................................... 28
E. Teaching English Using Film or Movie........................ 29
F. Teaching English Literature.......................................... 32
G. Biography of Jane Austen............................................. 33

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CHAPTER III RESEARCH METHODS

A. Research Design .......................................................... 35
B. Research Object............................................................ 35
C. Data Sources ............................................................... 35
D. The Data Collecting Methods ...................................... 36
E. Technique of Data Analysis ........................................ 37

CHAPTER IV RESEARCH FINDING AND DISCUSSION

A. The Synopsis of the Film ............................................. 39
B. Intrinsic Elements of The Film..................................... 43
C. Discussion ................................................................... 53
D. Application of Film In English Language Teaching....... 64

CHAPTER V CONCLUSSION AND SUGGESTION

A. Conclussion .................................................................. 70
B. Suggestion .................................................................... 70
BIBLIOGRAPHY
APPENDICES
The Script of “ Sense and Sensibility “ film
Thesis Consultation Card

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ABSTRACT

Lestari, Suci.2012. The Analysis of Moral Values in The Film Entitled “ Sense
and Sensibility “ adapted from Jane Austen’s Novel and Its Applications in
Language Teaching. English Department Faculty of Teacher Training and
Educational Sciences Muhammadiyah University.

Watching a film gives us a pleasure, because we will get enjoyment from

watching it. We can learn about the vocabulary, grammar, structure of a sentence
and the culture of the film we are watching. We can get the moral values from
watching the film. It will be very useful for us in making our behaviour and our
attitude in real life. This thesis is entitled “ The Analysis of Moral Values in the
film entitled “ Sense and Sensibility “ adapted from Jane Austen‟s novel and its
application in Language Teaching “. The purpose of this thesis is to to find out
and analyze the moral values shown in the film” Sense and Sensibility “ and the
application in English language teaching.
The object of this study is a film entitled “ Sense and Sensibility “. The
study is classified as a qualitative research. So, the technique of gathering data
includes watching film , identifying, analyzing ,and giving comment on the
content of the film. The researcher describes the intrinsic elements, e.g plot,
setting, characters and find out the moral values of the film. The researcher uses
the library to have some references in making this thesis. It includes books,
articles, citation and other thesis with the same theme.
The results of the research showed that the central actress was Marriane
and Elinor, and the supporting actors were Edward Ferrars, Colonel Brandon,
Mrs. Jenning‟s, Lucy Steele, and many more. The plot of the film is progressive.
The character and characterization will be described in detail. The setting of place
is Barton Park, near London. The setting of time was in the year 1797. There are
some moral values found in this film. They are responsibility, kindness, attention
and good understanding. The writer hopes that the teacher and the students can
learn English by reading this thesis. From the moral teaching, the thesis can be
used as a guide to a better understanding in real situation.

Keywords: moral values, Sense and Sensibility, film

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CHAPTER I
INTRODUCTION

A. Background of the Study

Literature is one of the form of art. Literature can be an expression of

human nature and significant human experiences. Literature is a creative art

because we can express our feeling, idea, and experiences. Those can increase

the imagination of the readers.

A literary work gives knowledge to the readers in the form of

information. It is presented through language to describe facts about a person,

a place, or an events. It also informs us the way of life in society, like the

customs, the rules, the attitudes or the behaviours. Another form of art is film.

Film is a series of a moving pictures recorded with sounds that tells a story,

sounds on television or movie theatre (Hornby, 1995:434). A film has a

theme, setting, plot, characters and characterization, and language style.

Literature is an imaginative writing. As an artwork, literature is always

interesting to be analyzed in order to understand literary well. The readers

should not only read it,but they must also understand it deeply so that the

readers can find the hidden values.

Reading literary work is interesting and enjoyable. On the contrary,

some people think that the activity is useless and wasting the time. They do

not realize that reading gives some advantages for their life. By reading,

people know the theme, plot, settings, etc. They also can get much information

1
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about the moral values, the characters, the way of life of a society and an

important event described.

Besides poetry and drama, fiction is one form of literature. When we

read pieces of fiction, we move from the actual world to the world where we

are as people who live in a world of imagination. The world that the writer has

created is what we want savor and enjoy but, we cannot appreciate it unless

we comprehend its relevance.

The English Department Faculty of Teacher Training and Educational

Sciences Muhammadiyah University of Purworejo has curriculum which

includes literature as one of the subjects taught to the students. Literature can

be learned in Poetry, Prose, Literary Apreciation and Drama Class. It is

considered as an important subject to study literature, the students can learn

about other countries, culture, sciencies and ways of life.

Basically, literature is a work of art activity which is related to

expression and creation. Literature is closely related to art, feeling, morality

and belief. A writer is free to create anything to imagine his work arbitraly.

Literary work generally describes the social life based on the experience,

knowledge and interpretation of a writer. The meaning and the essence of a

work are not absolutely determined by the player and it may not be

interpreted separatedly by the creator. Literature anyway is an effective way of

spreading idea among members of the society.

Literature help us to understand human‟s sentiments, human‟s interest,

human problems, etc. It bring us closer to other human beings of other

 3

nationalities, cultures, and races. Our lives become fuller and more balanced.

Knowledge feeds our minds and literature deeds our hearts. We learn what

other feel about certain things (Wiyono,2000:2).

One of the English novelists is Jane Austen ( 1775- 1817 ). She was an

English novelist noted for her observation about early 18 th century English

society. In all her novels, Austen potrayed the ordinary life of the members of

the upper middle class. Her works combined romantic comedy and social

satire of early 19 th century life. Her first novels are Ellinor and Mariane, First

Impression, and Susan. These novel were written during the time from 1795-

1798.

In the year of 1995, her novel entitled Sense and Sensibility was filmed

by Angg Lee with the same title. Sense and Sensibility was the one of the

most succesful films in the year 1995. This film was included the best story

movie because it is full of twists.

The main theme of “Sense and Sensibility” is that sensibility,

responsiveness, enthusiasm, are desirabe, but it must be tempered with good

sense and prudence. In other words, a person needs both Sense and Sensibility

to survive. Nine years old , Ellinor Dashwood, the elder of two sisters and the

center of the story combines both qualities, her 16 year old sister, mariane is

less balanced.
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B. Reason for Choosing the Topic

The researcher chooses the movie of “Sense and Sensibility” adapted

from Jane Austen‟s novel because this movie contains of lessons of life. It

tells us about the two attractive and muttually devoted sisters. They are

siblings. They are close sister who love each other. This film shows us with

some moral values, which are still relevant to our life. It also shows us some

bad and good qualities of human life. So, as the reader or viewer, we must

select the value of the film carefully, we must know the positive and negative

values and then we can use the positive values in our real life.

The researcher would like to compare with other research reports.

After reading some theses in the library, the researcher could not find any

thesis about “Sense and Sensibility” as the topic.

A researchs about characterization have been conducted by Lukman

Hakim ( 012120056). He made a research under the title of “ The Analysis of

Characters and Moral Values of Play Entitled “ The Good Woman of Setzuan

“ by Bertolt Brecht “,2001. He states that the reader may get various moral

values which consist of good and bad moral values. The good moral values

includes honesty, bravery and willingness while the bad moral value includes

careless, coward, despair etc.

C. Limitation of the Study

In this thesis, the researcher would like to discuss just one problem.

This is the moral values of film “ Sense and Sensibility “ and the application
 5

in English language teaching. The researcher wants to show the moral values

of the film entitled “Sense and Sensibility” and the application in English

language teaching. It is very good for the reader of the thesis to know the

moral values of the film and how important it is for us to learn.

D. Statement of the Problem

Reffering to the background, the researcher would like to state the

problems as follows :

1. What are the moral values of the film “ Sense and Sensibility ?

2. What are the positive moral values ?

3. What are the negative moral values ?

4. How do we apply this movie in English language teaching ?

E. Objective of the Study

Based on the problems above , the purposes of this study are to find out

the answers to the problems, as follows :

1. To describe the moral values of the film.

2. To describe the positive moral values.

3. To describe the negative moral values.

4. To describe the application of this movie in English language teaching.

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F. Significance of the Study

The researcher hopes that this thesis will give advantages to everybody

who is concerned with the film. It is expected that it can enrich their

knowledge about literary works.

a. By conducting this analysis, the researcher can help in developing the

teaching material by using movie as a media of learning English for the

subject of literature

b. By watching “Sense and Sensibility” film, the viewer would better

understand the world. Their sense and humanity and interrelationship will

increase.

c. The writer expects that this thesis can encourage the readers to

watch”Sense and Sensibility” movie and motivate them in learning literary

works.

G. Definition of Terms and Notation

The researcher would like to state the definition of the key word or

phrase concerning to the topic to avoid misunderstanding and

misinterpretating.

The definitions are as follows :

1. Analysis

Analysis is the detailed study or examination of something in order to

understand more about it;the result of the study (Hornby,2005:49).

 7

The study of such constituent parts and their interrelationships in making

up a whole.(“http://www.thefreedictionary.com/analysis)

2. Moral

Moral is concerned with principle of right or wrong behaviour.

(Oxford Advanced Learners Dictionary,2000:861)

Moral is a teaching or exhibiting goodness or correctness of character and

behavior.( “http://www.thefreedictionary.com/morals)

3. Values

Values are beliefs about what is right and wrong and what is

important in life. (Oxford Advanced Learner‟s Dictionary, 2000:1493).

Values is quality of being useful or desirable; the worth of something

when compared with something else. (Oxford Learners Pocket Dictionary,

2004:476)

4. Film

Film or movie is a series of moving pictures recorded with sound

that tells a story, shown on the television or at the cinema or movie theatre

(Hornby, 2000: 573).

Film or movie is a sequence of photographs projected into a screen with

sufficient rapidity as to create the illusion of motion and continuity. Movie

as a noun means a form of entertainment that enact a story by sound and a

sequence of image which is giving the illusion of continous movement.(

http:/www.thefreedictionary.com/movie)
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5. Sense and Sensibility

Sense and Sensebility is a 1995 British period drama film directed

by Ang Lee. The screenplay by Ema Thompson is based on the 1811 novel

of the same name by English author Jane Austen.

(http://en.wikipedia.org/wiki/Sense_and_Sensibility_%28film%29)

6. Adapted

To change a book or play so that it can be made into a play,film or

movie, television programme. (Oxford Advanced Learners Dictionary,

2000:14)

7. Jane Austen

Jane Austen was a major English novelist, whose brilliantly witty,

elegantly structured satirical fiction marks the transition in English

literature from 18th century neo- classicism to 19th century romanticism.

In her early twenties Jane Austen wrote the novels that were later to

be reworked and published as Sense and Sensiblity, Pride and Prejudice,

and Northanger Obey. Then the novel entitled “ Sense and Sensibility “

was filmed by Ang Lee in 1995. ( http://www.jasa.net.au/jabiog.html)

8. Novel

A story long enough to fill complete book, in which the characters

and events are ussually imaginary.(Oxford Advanced Learners

Dictionary,2000:904).
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Novel is a fictious prose narrative of considerable length and complexity,

portraying characters and presenting a sequential organization of actions

and scenes. (“http:www.definitions.net/definition/novel)

9. Application

The act of putting something to a special use or purpose: an

application of a new method (Hornby,2005:52).

10. English

English is the English language (Hornby, 2000:437)

English describes the language of United States and England. (adjective)

English is the language spoken by people of England and the United

Stated. (noun)

English is also hugely important as an international language and

plays an important part even in countries where the UK has historically

had little influence. (<a href=”http:www.thefreedictionary.com/

English”>English</a>)

11. Language

Language is a statement that captures the key feature of a concept

(Brown, 2007:5)

Language is the system of communication in speech and writing that is

used by people of particular country. (Oxford Advanced Learner

Dictionary, 2000:752)
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12. Teaching

Teaching is showing or helping someone to learn how to do

something, giving instruction, guiding in the study or something,

providing with knowledge, causing to know or understand. (Brown,

2007:8).

H. Organization of the Writing

This thesis is divided into five chapters. Each chapter will explain

different topics.

Chapter I. This chapter explains the background of the study, reason

for choosing the topic, limitation of the study, statement of the problems,

objectives of the study, significance of the study definition of terms and

notation, and organization of the writing.

Chapter II. This chapter includes literary works, definition of the term,

the structural analysis, the instrinsic elements and moral values.

Chapter III. This chapter includes an analysis of the study, the research

design, research object, data sources, data collecting technique,and data

analysis technique.

Chapter IV. This chapter includes the synopsis of the film and discuss

the analysis of moral values in the film “ Sense and Sensibility” adapted from

Jane Austen‟s novel.

Chapter V. Conclusion and Suggestion. This chapter contains

conclusion and suggestion.

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CHAPTER II
REVIEW OF RELATED LITERATURE

A. Definition of Literature

Literature is one of the great creative and universal means of

communicating the emotional, spiritual, or intellectual concerns of mankind.

Like good music and art, good literature is characterized by

imagination, meaningfulness of expression, and good form and technique.

Literature may instruct and inform, entertain, express personal joy or pain,

reflect religious devotion, glorify a nation or hero, or advocate a particular

point of view whether it be political, social or aesthetic. Other forms of

literature, such as the drama or play, are designed to be seen and heard in a

communal setting.

In making a classification of literature, Conolly (1995:1) mentions

three characteristics of literature. First, that literature has power. The use of

language in certain way influences the reader‟s mind. Second, literature is

also vivid. By the power of written work, it makes us hear, makes us feel,

and makes us see, because language in literature guides us to hear, to feel,

and to see everthing in those written words. Third, the language of literature

is clear. To clarify this, the writer uses a passage describing a character; it is

clear that the writer clarifies character in his definition of a person by

showing what he or she does, why he or she does it, and what he or she will

never do.

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Literature is a creative and imaginative work, which expresses social

life based on experience, knowledge,opinion and interpretation about events

or persons . Literature is closely related to art, feeling, mentality and belief. A

good literary work will never be boring and the readers will not be bored to

read it.

B. Definition Film or Movie

Films, also known as movies is a type of visual communication which

uses moving pictures and sound to tell stories or inform; help people to learn

about new ideas. (http://simple.wikipedia.org/wiki/Movie).

Film is a series of moving pictures recorded with sound that tells a

story, shown on television or at the cinema or movie theatre

(Hornby,2005:573). A film is multimedia narrative form based on physical

record of sound and moving picture. Film is also a performed genre in the

sense that it is primarily designed to be shown in a public performance.

Whereas a dramatic play is realized as a live performance by actors on a stage,

a film shown in a cinema ( film theatre ) is a not a live event, and can

theoretically be repeated infinitely without any change. Like drama, film is

narrative genre because it presents a story (a sequence of action

units).(http://local host/G:/Jahn%Film%20Analysis.htm)

Film is a very exciting way to learn about things no matter what they

are,but if we are trying to learn English, films gives you not only the

pronunciation and all of the information while seeing a picture of actually

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what is happening, which the researcher thinks is very helpful, but also film is

very powerful in the fact that they gives you sounds and backgrounds and a

lot of other unspoken parts of our English language, and the writer thinks that

that‟s very important. ( http://www.ehow.com/video_5103554_teach-english-

through-film.html#ixzz1JNqdtcC).

Movie is one of entertainments which can‟t be separated in our life

now. It is also become a medium to describe about human life and all aspects

of problem; it can retell a story or event in the past time. By watching movie,

we can understand about habit, culture or language of a country in the world.

Film or movie is important as a media of learning English. So that the

researcher chooses a film as a object study and finds the moral values, and its

application in English language teaching.

There are many genre of film. Film genres are various forms or

identifable types, categories, classifications or groups of film. These are some

of the most common and identifable film genre categories adopted from

(http://www.filmsite.org/genres/html).

1. Action Film

Action films usually include high energy , big- budget, phsycal stunts and

chases, possibly with rescue battles, fights, escapes, destructive crises

(floods, explosions, natural disasters, fires, etc), nonstop motions,

spectacular rhythms and spacing and adventurous, often two dimensional „

good- guy‟ heroes (or recently, heroines) battling „bad guys‟.

Example : Death Race, James Bond, Vantage Point ,etc.

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2. Adventure Films

Adventure films are usually exciting stories, with new experiences or

exotic locales, very similiar to or often paired with the action film genre.

They can include traditional swashbucklers, serialized films, and historical

spectacles ( similiar to the film genre ), searching or expeditions for lost

continent, “ jungle” and “ desert” epics, treasure hunts disaster films, or

searches for the unknown.

Example : Harry Potter, Lord of The Rings, The DaVinci Code, etc.

3. Comedy Films

Comedies are light- hearted plots consistently and deliberately designed to

amuse and provoke laughter ( with one- liners, jokes, etc ) by exaggerating

the situation, the language, action, relationships, and characters. This

section describes various forms of comedy through cinematic history,

including slapstick, screwball, spoofs and parodies, romantic comedies,

black comedy ( dark satirical comedy ), and more.

Example : Yes Man, Ace Ventura, Night At The Museum, etc.

4. Crime and Gangster Films

Crime (gangster) films are developed around the sinister actions of

criminals or mobsters, particularly bank robbers, underworld figures, or

ruthless hoodlums who operate outside the law, stealing and murdering

their way through life.

Example : American Gangster, Death Race, Four Brothers, etc.

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5. Drama Films

Dramas are serious, plot driven, presentations , potraying realistic

characters, settings, life situations, and stories involving intense character

development and interactions. Usually, they are not focused on special

effects, comedy, or action.dramatic ilms are probably the largest film

genre,with many subsets.

Example : Romeo and Juliet, Tristan and Isolde, Titanic, etc.

6. Epics / Historical films

Epics include costume dramas, historical drama, war film, medieval

romps, or „period pictures‟ that often cover a large expanse of time set

against a vast, panoramic backdrop. Epics often share elements of the

elaborate adventure film genre. Epics take an historical or imagined event,

myth, legendaries, or hero figures and lavish costumes, spectacular, high

production values and sweeping musical score.

Example : Queen Elizabeth, The Passion, Love In The Time of

Cholera, etc.

7. Horror Films

Horror films are designed to frighten and to invoke our hidden worst fears,

often in a terrifying, shocking finale, while captivating and entertaining us

at the same time in a chatartic experience. Horror films feature of wide

range of a style, form silent classic, monster and insane human.

Example : Hallowen, Psychopat, Scream, etc

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8. Musical / Dance Films

Musical / dance films are cinematic forms that emphasize full- scale scores

or song and dance routines in a significant way usually with a musical or

dance performance integrated as part of the film narrative, or they are

films that are centered on combinations of music, dance, song or

choreography.

Example : Another Cinderella Story, Step Up, School of Rock, etc.

9. Science Fictions

Sci-fi films are often quosi- scientific, visionary and imaginative films

completed with hero, aliens, distant planets, impossible quests, improbable

settings, fantastic place, great dark and shadowy villains, futuristic

technology, unknown and unknowable forces, and extraordinary monsters

(„ things or creatures from space‟). Science fiction often express the

potential of technology to destroy humankind.

Example : Deja Vu, Paycheck, The Earth Before Stood Still, etc.

10. War Films

War ( and anti- war ) films acknowlwdg the horror and heartbreak of war

letting the actual combat fighting ( against nations or humankind) on

land, sea, or in the air provide the primary plot or background for the

actions of the film. War film include stories of military operations and

training.

Example : Troy, Flight Plan, In The Name of The King, etc.

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11. Western Films

Western is a major defining genre of the American film industry- a eulogy

to the early days of the expansive American frontier. They are one of the

oldest, most enduring genres with very recognizable plots, elements and

characters ( six- guns, horses, dusty towns and trails, cowboys, Indians,

etc). Overtime, western films have been re-defined, re- invented and

expanded, dismissed, rediscovered, and spooffed.

C. The Intrinsic Elements of Film

A literature has elements to support it, for example intrinsic elements.

Intrinsic elements in literature consist of : theme, plot, setting, point of view,

and character and characterization.

1. Theme

Theme is the meaning of the story or the ideas and values that a

literary work expresses. A theme is also called the heart of a story. By

theme we mean the necessary implication of the whole story, not a

separable part a story. The theme of a story is whatever general idea or

insight the entire story reveals. In some stories the theme is unmistakable.

Theme is the total meaning discovered by the writer in the process of

writing and by readers in the process of reading.

Theme is something that has traditionally concerned by the writers

and that therefore is a legitimate concern of readers. In literature, a theme

is seldom so obvious.Theme is not the moral, the subject, but it is not

 18

hidden and it is not illustrated. Theme is the meaning of what the story

releases and it maybe the meaning the story discovers.

According to Nurgiyantoro (2002:82-83), there are two kinds of

theme in a literary work. Those are major theme of story which become a

general basic idea of the story, and minor theme only exists in part of the

story.

In the simplest definition, theme is the meaning of the story, central

idea or the basic story ( Sayuti,1998:82). Theme is the central idea of

literary work, usually expressed as generalization observation about

people or the world we live in a theme may be stated or implied.

2. Plot

Plot is important elements of fiction or literary work, even most of

the people consider it as the important element among the other element

of film, such as characterization, theme, point of view.

Aristoteles says that plot is the soul of tragedy. The plot is the soul of

a story. It may be the soul of fiction. In narrative work, it is the structure

of its action. It is the outline of the story. It is the arrangement of important

event and problems to the story. The plot is very important in a film,

because without plot, a work can‟t be considered as a play.

Plot in the story has role as the tale teller, which becomes concerned

with the relationship among the events and problems to be resolved that

are implicit in those events. Plot is the highest important of film in

expressing the meaning of a work. The plot in a dramatic work is the

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structure of its action. The plot contains conflicts and messages. Such as

plot relationships are most commonly those causes and effects.

Plot is divided into five parts.They are exposition, rising action,

climax,falingaction,and resolution (http://en.wikipedia.org/wiki/plot.html)

a. Exposition

An exposition is a kind of introduction. It is the opening part

which introduces the main character and tells the readers what

happened before the story opens, and provides any other backgrounds

information that the readers need to understand the contents of the

events.

b. Rising Action

The character begin an action after a condition which makes the

characters feels confused. It is the considered the interplay between the

characters and the events which build up the reader‟s attention and

develop a problem out of the original situation of the story.

The rising action is beginning part of conflict. The character feels

confused with an event or condition, and this builds their actions to

get rid of the confusion.

c. Climax

A conflict is followed by climax. So that, we can say that a

climax is the culmination point of a conflict. The climax usually brings

the main characters to the decisive moment in which the characters

will find out the best way to solve the problems.

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d. Falling Action

After the climax, there is falling action. The main character have

found out the way to solve his or her problems and they come to a

point where there is no problems anymore, and the story comes to its

end without any troubles on the way. The falling action occurs when

the plot moves toward its appointed conclusion.

e. Resolution

The main character has been succesfull in solving his or her

problem in the last events of the story and this results in a happy or sad

ending.

3. Setting

The setting of a film/ story can be defined as the background of

where and when particular events occur (Kenney,1996:38). The setting

may be described specifically by the narrator or one of the characters, or

maybe suggested through dialogue and action. A realistic setting- whether

in the past, present, or future- lends an air credibility to the characters and

action, deicted in a story. The setting helps to limit the expectation of a

reader (only certain actions are possible in a given time and place), may

serve to create an appropriate atmosphere for the event of a story, and may

be vital to the development of the plot or the revealing of character.

Setting is the element of fiction which reveals where and when of the

events occur. All actions in life and literary works happen somewhere in

place and time, and in literary work the feature of place and time, whether
 21

they are clear or vague, prominent or faint, important or unsignificant,

constitute setting.

Setting is the place where the characters move and live. In a narrow

sense, it means the particular place and time or condition in which actions

take place. Place is all the physical details of a particular scene; color and

lighting, style of clothing, furniture,drapes, items on tables and desk, or

feature of vegetation, weather, etc. In a wide sense, it means the whole

geographical area, the time in history and the social and economic

environment in which events take place.

Time is particular scene; it would include all references to time of

day, season of the year, or point in a person „s life or a group association.

Some reason of using setting are :

a. To strengthen the beliefs towards the character and his movement and

his attitude. Usually, an author describes a setting clearly in order to be

remembered easily.

b. To relate with the whole meaning and eneral meaning of the story.

c. Setting can work for certain and specific meaning rather than create a

useful atmosphere.

4. Point of View

Point of view is the technique that is used by the author to find and

tell the meaning of his artistic works to the people. Point of view is the

way a story is told. A story is usually told by a character in the story, an

“I”, by an anonymous person outside the story. The author‟s choice of

 22

narrator determines the amount of information that will be given to the

readers. The principal point of view are first person and third person.

Within these two broad categories, the following types of narration may be

found :

1. First Person Subjective

The narrator is the major or minor character in story who report

the events as if they had just happened and who appears to be anaware

of the full meaning of the events. The readers knows more than

narrator.

2. First Person Detached

The narrator is a major character in the story who recalls the

events from the vantage point of maturity. He has had time to reflect

on the meaning of events.

3. First Person Observer

The narrator is a minor character in the story who plays the roles

of eyewitness and confidant. His sources of information are what he

hears and sees and what the main character tells him.

4. Third Person Omnicient

The narrator is an anonymous person outside the story who plays

an all knowing role. He not only reports what the characters do and say

but also entersthe minds of the characters and comments on their

actions.
 23

5. Third Person Objective

The narrator is an anonymous person outside the story who report

only what the characters do and say.

(http://en.wikipedia.org/wiki/point of view.html )

5. Character and Characterization

Character is a personage in narrative or dramatic work; also kind of

prose sketch briefly describing recognizable type of personal

(Baldic,1996:63). Meanwhile, Hornby (2005:186) states that character is

person in play, novel etc.

According to Robert, as quoted by Erlin , (2011:25), in literature a

character is a verbal representation of human being as presented to us by

author through the depiction of action, conversations, descriptions,

reactions, inner thoughts, and reflections, and also through the author‟s

own interpretive commentary that collectively make up human

personalities.

E.M Forster divides characters into some parts. They are :

a. Flat and Round Character

A flat character is one who has one characteristic and one only. It

is usually a minor actor in a play or novel in which he or she appears,

but not always so. A truly flat character‟s behavior is always obviously

consistent with his or her single trait. Round character is just the

opposite. It encloses a number of qualities and traits, and it has

complex multidimensional character of considerable intellectual and

 24

emotional depth. In fiction major characters are usually round

characters.

b. Major and Minor character

Major character is the most important one is term of plot. He or

she often appears in the story. In fiction a major character is usually a

round character, whereas minor characters are those who support the

major character they usually are flat characters.

c. Static and Dynamic character

Characters in a fiction can be distinguished on the basis of

whether they demonstrate the capacity to develop or change as the

result of their experiences. Dynamic characters show a capacity to

change, but static characters do not. A change in character may come

slowly and insert over many pages ad chapters or it may take place

with a dramatic suddenness that surprises, and even overwhelms the

character. Dynamic characters include the protagonist in most novels.

Static characters may give the plot as they enter it largely

untouched by the events that have taken place. Although static

characters tend to be minor characters because the authors‟ principal

focus is also not always the case.

A character may be drawn with a few marked personality traits or

with a complex collection of them. According to Ben Johnson‟s in “

Comedies of Humors”, each character has a single dominant trait.

This approach was carried to extreme result on caricature. Usually the

 25

major characters in a work of fiction tend to be “ round characters”

according to E.M Forster, while minor ones tends to exhibit only a few

dominant traits.

A character may also be either static, showing little change, or

dynamic, that is significantly affected by the events of the narrative.

Most novels and full – lenhgt plays concern with the development of

dynamic characters.

In addition, we find two types of character figure. They are:

a. Protagonist

A protagonist character is a character that has a reflection of

norms and ideal value for us ( Alterbernd and Lewis in

Nurgiyantoro, 2002 :179). Protagonist is the major character, which

is central in the story. The protagonist is usually easy enough to

identify. This character brings the plot of the story, and this plot is

brought with his wish.

b. Antagonist

An antagonist is a character apposing to the protagonist

character directly or indirectly, physically or mentally. He or she

also creates a conflict in a story. Antagonist is a character who is

being the enemy that making conflict. Antagonist is the opposite of

protagonist, the character, who tries to interfere with the

protagonist‟s wish, which then arises the conflict. The antagonist

 26

can be somewhat more difficult to identify, especially if he is not a

human being.

Character is the whole personality, and then the

characterization is he deliberateselection or invention of features

that makes to create a character. A character then is presumably an

imagined person who inhabits a story, although that simple

definition may admit to a few exceptions.

Characterization, in literature, is the presentation of the

attitudes and behaviors of imaginary persons in order to make them

credible to the author‟s audience. Characterization is a unique

feature of such fictional forms as the short story, drama, and

narrative poetry. Critics regard good chracterization as an important

criterion of excellence in fiction.

According to ( Pickering,1986: 50) there are two methods of

characterizing which is telling and showing. In the telling methods,

the author explain all of things in detail and also gives some

comment directly, and In the showing method the author is looking

for the characters that show who they are throught their dialogue

and action.
 27

a. Telling methods are divided into :

1) Characterization through the name

Name are often used to provide essential clues that aid

in characterization. Some characters have names that

suggest their domain or controling traits.

2) Characterization through the appearance

Although in real life most of us are aware that

appearances which are often deceiving in the world of

fiction. The details of appearances such as what a

character, wears, and how he looks, it often provides

essential clues to characters, certain physical characteristics

express the related main character. Details of physical and

emotional health and well being show whether the character

is strong or weak, happy or sad, calm or agitated.

3) Characterization through the author

The author interrupts the narrative and reveals

directly. Through a series of editorial comments, the nature

and personality of the characters, including the thoughts and

feelings that enter and pass through the character‟s minds.

The author describes all about the character.

 28

b. In the showing method there are two methods. They are :

1) Characterization through the dialogue

The real life is often characterized with the variety of

the dialogue. People tend to talk about themselves, talk

among them, and talk big problems on the little ones. We

should learn the meaningful dialogue the faith and action of

the characteristic of the character where he has certain

position in it.

2) Characterization through the action

The easiest way to describe and to tell the character is

through action. Action can interpret the psychological and

emotional condition. We can identify something about

several characters in order to know what kind of person he

is in the story. Some actions of course are more meaningful

in this respect that the others.

D. Definition of Moral Values

The word “ moral “ has a meaning which is concerned with the

principle of right or wrong behavior. It also means certain practical lessons of

a story , an event or an experience. A person‟s behavior is called moral if it

follows a certain standard of good morality, good behavior or virtue (Hornby,

1995:805).
 29

Basically, moral is the distinction between bad and good conducts

which can generally be accepted in a social life. In talking about moral we can

briefly say that moral is concerned with, or related to human behavior,

especially the distinction between good or bad, or right and wrong behavior.

In a literary work, moral value is like a theme which is expressed in the

body of a story. A moral value is something that the researcher tries to convey

to the readers. It is the knowledge to be presented in a story. In general, moral

can be defined as the distinction between good and bad, right and wrong with

regard to attitudes, behavior, character, etc (Nurgiyantoro,2002:172).

Webster (1979:589) states that moral is concerned with the principles

of right or wrong conduct. In general, a value means a quality of being useful

or worthwhile or important, whereas moral values mean moral or profesional

standard of behavior (Hornby,1995:1441). Moral values in literary works then,

mean the principle of right or wrong behaviors which are worthwhile and

important in a literary work to be conveyed to the readers to improve their

moral standards.

E. Teaching English Using Film or Movie

In English Teaching- learning, there are some techniques can be applied

in order to improve the students‟ ability. One technique which can be applied

in is the use of media. Media has an important role and contributions as one of

the influential factors in language teaching.

 30

Media as teaching aids are needed to help the students‟ understanding

and to increase the effectiveness in the communication between teacher and

students in teaching- learning process. It is also used to stimulate the students‟

motivations and the students‟ interest to the lesson.

Media is important in the lives of students, and often plays key role in

their development. The development of the students relate to the teacher‟s

creativity in presenting the material, therefore the language learning can be

carried out to be more interesting, effective and hopefully can be succesful.

Teaching English literature by watching movie or film is one of the

good media to learn English especially literature. The students will enjoy it.

Therefore, teaching literature should use suitable methods or strategies.

Teaching English through films is a great way to match the spoken

words with the body language and silent communication involved in te

language. Use various films to teach the English language with information

from an experienced English tutor in this kinds of films in teaching the

material.

Film is very exciting way to learn about things no matter it is, but if we

are trying to learn English, the films give you not only the pronunciation and

all of the information while seeing a picture of actually what‟s happening,

which the writer thinks is very helpful, but films are also powerful in the fact

that they give us sounds and backgrounds and a lot of other unspoken parts of

our English language, and the researcher thinks that that‟s very important. So,
 31

sometimes film can get us confused because some of the things they have are

not realistic.

Movies are an excellent way to teach and reinforce higher- level

listening skill for foreign language learners. It‟s not really enough, though, to

simply put the movie on and let the students watch it. Rather, we need to

structure activities around the film that encourage students to listen for key

words and phrases, figure out the movie‟s main idea and generally stretch

their language skill in an applied setting.

Nowadays students need to be exposed to a wide variety of resources

from audio to printed material. Although this output seems to fulfill their

needs and preapare them for the outside world, teachers aways keep searching

for more motivating sources. So, introducing movies into our classroom is a

challenge most language teachers must face. (http://www.ehow.com/

video_5103554_teach-english-through-films.html#ixzzlNqF5xdC).

The following are some advantages of teaching literature using film for

both teacher and students :

a. The teaching-learning activities will be more interesting and

varied.

b. Media will motivate and stimulate the students to be interested in the

lesson.

c. The communication between teacher and student will be more effective.

 32

F. Teaching English Literature

a. Definition of Teaching English Literature

According to Ellie and Marshall (2006:40), teaching is a means to

an end rather than an end in itselve the effect has been salutary, for

teaching is of course a means of stimuli and rhetorical plays designed to

help syudents learn and o becomebetter learners. Teaching literature is a

subject, and a difficult one. Doing it well requires scholarly and critical

sophistication, but it also requires a clear idea of what literature is, of what

is entailed in reading and criticizing it. It requires, in fact some very self-

concious theoryzing. Teaching literature means to achieve student‟s ability

in appreciate the literary work. Doing appreciate the literary work likes

learning sensation, reasoning, imagination, culture, and society.

b. Materials of learning literature

In selecting the learning materials, a teacher should know the

criteria, namely :

1. The content of the lesson should be valid

2. Materials should be quite usefull

3. The material is interesting

4. Materials should be appropriate the students ability

The learning resources of literature, namely :

a. Textbooks required

b. Supplementary books, textbooks, dictionaries

c. Written media : newspapers, magazines

 33

Ellectronic media : radio, television, video

d. Natural environment, social, cultural

e. Students‟ work

c. Teaching Learning Activities

Teaching learning activities are activities performed by literature

teachers and students so that there is interaction between teacher and

students. Besides, the purpose ef education in teaching and learning will

be successful.

d. Evaluation

Evaluation is the last activity in a teaching-learning activity.

Teaching and learning activity will be sucsessful if the result of the

evaluation of the students is oriented with the goal. Asessment of teaching

and learning of literature includes the knowledge, skills, and language

attitudes. Asessment of activities and learning progress of giving advice,

and correction during the activities take place.

G. Biography of Jane Austen

Jane Austen (1775-1778) was an English novelist noted for her

observation about early 18 th century English society. In all her novels,

Austen potrayed the ordinary life of the members of the upper middle class.

Her works combined romantic comedy and social satire of early 19 th century

life.
 34

The common themes of Austens‟s works are losing illusion, usually

leading characters into mature outlooks, and the clash between taditional

moral values and everyday demand of lives. Most of her novels, the

characters correct their faults through lesson they have learned. After bad

things came to them, they just realized about the fault that they have made.

They become wiser and more mature than before. Because of her sensivity of

human behaviour, many people regard Austen as one of the greatest novelists

of the 19th and 20th centuries.

Austen was born on December16, 1775 at Stevenson, Hampshire,

England. She was the seventh child of eight, and her family was close, and

lively. She lived most her life among the same kind of people about whom she

wrote. The Austen ,frequently, staged amateur theathricals, and they were

devoted readers of novels at the time when reading novels was regarded as a

questionable activity for Jane‟s youthful comic pieces, and later for her

novels. Jane Austen had almost no formal education but she read extensively

and critically. At the age of thirteen she already wrote a musing and

instructive parodies and variations on the 18 th century literature from

sentimental novels to serious histories.

When she was twenty- three years old, she started to write the first

novel, they are “Ellinor and Marianne”, “First Impression”, and “Susan”.

These novels are the first versions of “Sense and Sensibility”, “Pride and

Prejudice” and Northanger Abbey. These novels were written during the time,

from 1795-1798.
 35

CHAPTER III
RESEARCH METHODS

A. Research Design

According to Margono (2005:1) research is activities, looking for,

investigating, and attempting to get the fact and new principle to get new

introduction and to give science and technology.

In this reseach, the reasearcher makes a research plan and arranges it in

certain procedure as guidance in doing her research. This is a library research,

so the uses descriptive- qualitative research methods. This method is chosen

because literature, as the object of this research, is a form of creative work

which can be interpreted in universal way.

B. Research Object

The object of the study in this research is the film entitled “ Sense and

Sensibility” adapted from Jane Austen‟s novel.

C. Data Sources

Data sources can be things, people, place, etc. The types of data in this

research are the dialogues in “Sense and Sensibility“ film among the

characters in the film related to the moral values. Data can be classified into

two categories they are primary data and secondary data. The primary data

(main data) is the most important data related to the data being analyzed. The

35
 36

source of main data of this research is taken from the film “Sense and

Sensibility“ adapted from Jane Austen‟s novel based on the screenplay

written by Ema Thompson, and directed by Ang Lee.

The secondary data is data that supports the main data. The supporting

data which are taken from other references outside of the film or movie. This

data is some theory books, which are related to the topic of this thesis, internet

that help the researcer to find out information about the movie and the author

of the movie.

D. Data Collecting Methods

Data collecting method is the way which is used by a the researcer to

obtain the data and information related to his research. In this research the

method of collection data is the data from the film itself and quotations from

some informations facts which are relevant to moral values. In this research,

the researcher also uses library research. It is the most common method in

doing a research dealing with literary works.

Library research is done to collect, identify, define, evaluate, and

describe the data of the story. To complete the data and enough information,

the researcher uses the library as supporting the data. The researcher reads the

play script carefully in order to get a deep comprehension about moral values

and its application in English language teaching. Then the information that is

considered to be imortant and related to the topics is recorded in a piece of

paper. And the last, the researcher draws the conclusion and analysis. The
 37

researcher only takes the relevant data which support the topic discussed in

this thesis.

E. Technique of Data Analysis

The researcher uses a descriptive qualitative design of research because

it is more appropriate than quantitative research, to understand the content of

the film or movie. All data are analyzed qualitatively and presented

descriptively. In processing the data, the researcer uses this analysis.

1. Data Making

The researcher conducted and observed the data source in the film “ Sense

and Sensibility “ by watching it carefully and as much as possible. Then,

the researcher organizes the data and makes a list of the data recognized

steps, those are :

a. Unitizing

The data is found in the film and other sources which are relevant to

analyze . The analysis of this research is all the dialogues which are the

answers to the questions stated in the statement of the problem.

b. Sampling

The researcer tries to analyze the moral values in the film and its

application in English language teaching.

 38

c. Recording

In recording the data, the researcher watches the film. When the

researcher finds the scenes which describe the moral values, the

researcher writes data on the pieces of paper correctly.

2. Data Reduction

The technique used by the researcher in selecting the data in observing the

film, to make easier in analyzing the data; the researcher determines the

kinds of aspect of the moral values in the film. The researcher clears out

the irrelevant data from the relevant one.

3. Inference

The design of collecting data is based on analytical construct which is

done to the relationship between data and the construct. The data are the

moral values where as the data context is dialogues among actors and

actresses shown in the film.

4. Data analysis

The researcher presents the data by describing dialogues which is related

tell about the moral values. the data are informations that are relevant to

the observed phenomena.

5. Validity

To get the validity, the researcher organizes directly the data research

which the researcher thinks good and relevant. And finally, she conludes

the findings and displays them in writing.

 39

CHAPTER IV
RESEARCH FINDING AND DISCUSSION

This chapter deals with the research findings and the discussion of

moral values in “Sense and Sensibility” film adapted from Jane Austen‟s

novel and its application in English Language Teaching.

The researcher is going to discuss the result of the research. Firstly, the

researcher gives the synopsis of the story. Secondly, the researcher gives the

intrinsic elements of “ Sense and Sensibility “ film. Thirdly, the researcher

analyzes the moral values found in the story in the film entitled “ Sense and

Sensibility “ and the application in English Language Teaching.

A. Synopsis of the Film

The Dashwood family live at Norland Park, an estate which belongs to

family for many years. Henry Dashwood had a son from a previous marriage,

who is well off because of his long deceased mother‟s fortune. Mr.

Dashwood also has three daughters from his present wife. They live under

poverty after he dies and the estate goes to his son. Before Mr. Dashwood

died, he asked his son to help his stepmother, and John Dashwood agrees.

However, his son, John, is selfish and he fails to help his stepmother and his

sisters as he has promised to do.

Elinor is entirely sensible and prudent, she is able to handle people and

situation wisely. Her sister, Marianne, is very emotional and stubborn.

Marianne and her sister, Elinor, are following themselves to drown in grief.

39
 40

Elinor is grieving too, but she tries to control the situation. Margaret, the

youngest sister, is young and good-natured.

Mrs. Dashwood and her daughter stay at Norland for a few months,

because it is too difficult to find a new house which they could afford with

they small income. She knows that John Dashwood promises to his father, her

late husband, and this reassures her. Neither she nor her husband is certain

about John‟s sincerity, but he is kind to her husband and her daughter which

means that he feels some seat of obligation at least. However, she does not

like Fanny Dashwood at all, and she would have left Norland sooner.

Mrs. Dashwood receives a letter from a relative of hers. The letter is

very friendly and urges Mrs. Dashwood to come to Barton Park, his estate in

Devonshire, to have a look at the nearby cottage and see if it is suitable. Since

Mrs. Dashwood is ready to escape from Fanny, she accepts; Marianne and

Elinor approve the proposal, though Elinor does not want to be separated

from Edward.

The Dashwood is melancholy on setting off but as they get closer to

Barton cottage they become more interested in this new area and the new

home that they inhabit. They find Barton cottage habits although it is small

but it is comfortable, though not as romantic as a cottage. The valley and

countryside around is very pleasant, and they help them to think well of their

new place. They do as well as they can get from Mr. Dashwood wishes to

make improvement to the place the future.

 41

Barton Park is a very open and elegant home. Sir John‟s soil occupation

hunting and his wife raising his children; they have some quests and travel to

entertain themselves. Sir John genuinely found of the Dashwood girls,

because they are pretty and unaffected as he calls them, he is kind to them

and it is out of goodness of his heart, and he enjoys their company.

When the Dashwoods arrive they meet two people at Barton, which is

much fewer than Sir John would like to have had; one is Mrs. Jenings, Sir

John‟s mother-in-law, who is married, somewhat vulgar older woman, who

delights in jokes and general merriment. They also meet Colonel Brandon,

one of Sir John‟s old friends; he is a gentleman and a bachelor, and although

rather silent and serious, he is not unpleasing to them. Marianne plays the

piano forte for the party after dinner and it is pleased at the Colonel

Brandon‟s silent attention, compared to the blabbering of Sir John and his

mother-in-law and the pretences of Lady Midleton.

The family is not settled at Barton‟s cottage and much happier there

than at Norland‟s cotage after Mr. Dashwood died. The Dashwoods keep

busy and they are usually around the cottage, though Sir John visits and offers

them the use of his carriage to make social calls. The girls especially like to

go walking around the beautiful country side, and one day Marianne and

Margaret decide to go walking, although it is rainy. When it does start to rain

heavily, they begin to run back toward home, but Marianne stumbles and

twists and she can not walk again. A man, who sees the accident, comes to

them, and carries Marianne home while Margaret follows.

 42

Soon Mrs. Dashwood and her girls are busy with enggagements in the

neighborhood than they could have expected. In social engagements in which

the Dashwoods are invited,Willoughby is invited as well; his attachment to

Marianne continues to grow, though Elinor believes that they should be more

restrained in showing their mutual regard publicly. Marianne is very happy in

the relationship with Willoughby and forgets her home-sickness at Norland.

Elinor is not nearly so content, since she misses Edward‟s company and find

none better at Barton‟s cottage. Colonel Brandon agrees her though, and they

soon bacome friend.

Wiloughby then says that he must immediately to go London, and not

be back in devonshire for some time. Mrs.Dashwood and Elinor are

completely unsettled by his hasty departure, and Elinor fears that they must

have quarelled, or had some kind of failing out.

Mrs. Dashwood is happy to see when Edward is coming, and she

welcomes him very warmly as their guest. He becomes less answered and

less reserved around them, though it is obvious to them that he is poor of

spirits from some reasons; Mrs Dashwood believes her daughter has put

pressure on him to take up a profession and distinguish himself; Edward says

he has no desire to live anything but quiet, private life, though his mother will

not accept this. Small talk follows, about money and character and judging

people; then Marianne remarks that Edward is reserved, and this brings back

the dejection and they notice in him earlier in the day.

 43

Edward stays with them for a week, and has much better time there than

at Norland in London, still, he rejects Mrs. Dashwood‟s invitation to stay

longer, since he feels he must leave. Edward laments that he has no

occupation to take up his time, and again that he is unhappy in his current

state. He takes his leave shortly after, and his unhappiness pains Elinor; she

wishes that she could help out of it, but it also hurts that his old affections

have been shaken. Elinor does not allow in grief at this, but busy with herself

about the house and tries not to be disturbed.

B. Intrinsic Elements of the film

1. Theme

The theme of the film “ Sense and Sensibility “ is sense prevailing

over sensibility. The characters in the film who achieve the object of their

desire are those who possess good sense, while those who become

disillusioned with life are easily carried away by their emotions.

Another significant theme is patience. This virtue is embodied in

both Elinor and Colonel Brandon. She is discreet enough to observe

things and only later to pass her judgment upon them. Colonel Brandon is

genuinely in love with Marianne, but unlike Willoughby, he does not

make reckless and passionate proclamations of his feelings. Good

judgement is a result of the exercise of patience.

Another theme that is worth nothing is the position of money in the

society, it is generally accepted by all in the world of the film that before
 44

setling down to married life, one must ensure that a sufficient source of

income has been secured.

2. Plot

When Mr. Dashwood dies, he must leave the bulk of his estate to

the son by his first marriage. This leaves his second wife and three

daughters ( Elinor, Marianne, and Margaret ) in straitened circumstances.

They are taken in by a kindly cousin, but their lack of fortune affects the

marriage ability of both practical Elinor and romantic Marianne. When

Elinor develops an attachment to the wealthy Edward Ferrars, his family

dissaproves it and tries to separate them. And though Mrs. Jenings tries to

match the worthy ( and rich ) Colonel Brandon to her, Marianne finds the

dashing and fiery Willoughby more to her taste. their relationship are

sorely tried. But this is a romance, and through the hardship and

hearthbreak, a true love and happy ending will find their way for both the

sister, who is all sense, and the one who is all sensibility.

a) Exposition

The story begins when Mr. Henry Dashwood has just died. After

his burial, his wife, Mrs. Dashwood, and their daughter, Elinor,

Marianne, and Margaret, live at Norland Park with her stepson, and

his wife, Fanny, and wants to leave the place, but Elinor prudently

restrains her until they find a house. Mrs. Dashwood is reconciled to a

longer stay at Norland Park after it becomes evident that Edward

Ferrars, Fanny‟s brother, comes to stay and is attracted to Elinor. She

 45

returns his affection, finding him a gentlemantly and pleasing young

man. And, Marianne could not understand how Elinor would be

attracted to Edward. But the fact is that Elinor really is not certain of

Edward feelings.

After Mrs. Dashwood and her daughters stay at Norland Park for

a few months, they move to Barton Park and settle down in Barton

Cottage, Devonshire. On the following day, the Dashwoods dine at

Barton Park. There they meet Mrs. Jennings, Lady Midleton‟s mother,

and Colonel Brandon, a friend of Sir John. During the evening,

Marianne entertains at the piano, and Colonel Brandon listens quietly.

Mrs. Jennings says that Colonel Brandon is very much in love with

Marianne. But Marianne is horrified at that idea because she sees the

Colonel as bachelor, with a long past romance.

One day, Marianne and Margaret are caught in a downpour.

Running downhill, Marianne stumbles and falls, however a young

gentlemen, who is in uphill, picks her up, carries her home. Mrs.

Dashwood is greatly impressed by the young man‟s kindness, youth,

and elegance. She learns that his name is Wiloughby. Marianne is

soon captivated by Willoughby who comes to her visit everyday.

While a party breakfast at Barton Hall, a letter comes for

Colonel Brandon. Mrs. Jennings intimates that she knows whom the

letter is from. It comes from Miss William, the Colonel‟s foster

daughter.
 46

b) Rising Action

The rising action starts when Willoughby leaves for London on

business. After he leaves, Mrs. Dashwood and Elinor discuss the

probable reasons for his departure. Mrs. Dashwood is convinced that

Willoughby is sincere. Marianne continuous to grieve. No letter comes

from Willoughby and she does not seem to expect one.

One morning, when Miss Dashwood is out walking, a man

appears on a horseback. Marianne starts running toward him,

seemingly it is Willoughby. It is, however, Edward Ferrars. Edward

begins to enjoy his stay for a week, but he has to leave, although he

has no special place to go.

Sir John meets two young ladies, Anne and Lucy Steele, whom

Mrs. Jennings discovers to be relatives of her, Elinor and Marianne

find the older Miss Steele very vulgar and free in her speech, and

Lucy, the younger, lacking in real elegance, artless and illiterate. As

Marianne refuses any intimacy with the misses Steele, they turn to

Elinor. Lucy persists in asking her opinion of Mrs. Ferrars. She

confides that she has been secretly engaged to Edward for four years.

Edward stays for four years with her uncle. There is the acquitance

begins, and Elinor desperately hopes that Lucy is lying, but all the

hope vanishes, when Lucy shows her a letter from Edward and tells

her that she has given a lock of her hair, set in a ring.
 47

c) Climax

The story reaches the climax when Mrs. Jennings invites Elinor

and Marianne to stay with her in London, Elinor at first refuses the

offer, but Marianne is very eager, hoping to see Wiloughby and Elinor

finnaly asserts this. For the next four days, Marianne goes with Elinor

to a party at Lady Midleton‟s and sit down with her sister. Soon Elinor

perceives Willoughby in an earnest conversation with a fashionable-

looking young man. He sees her but does not approach them.

Marianne‟s exclamtions brings him to her side, and when she asks him

if he has received her messages, he seems embarased but answers that

he had. Then he turns hastily away with a slight bow. She begs Elinor

to tell Willoughby to leave the room. She tells Marianne that he is

gone. Marianne in a silent agony, too much oppressed even for tears,

goes to bed as soon as they arrive at Mrs. Jenning‟s.

Mrs. Jennings tells Elinor that Willoughby‟s fiancee, Miss Grey,

is very rich and that her guardians would not be sory to have her

married with him. Elinor ventures the hope that no one would talk

about Marianne‟s shattered romance. Mrs. Jennings assures her that

nothing would be said, and went to hope that Marianne would turn to

Colonel Brandon. Later, Colonel Brandon calls. He tells Elinor that he

has overheard two ladies talking in a shop. One of the is Mrs. Elison,

Miss Grey‟s guardian. She tells her friend that Miss Grey is to marry
 48

Mr. Willoughby and as soon as the ceremony is over, they are to go to

Comb Magna, his seat in Somersetshire.

When Elinor tells Marianne about Willoughby‟s shocking

behavior, she feels the loss of Willoughby‟s yet more heavily than she

has felt the loss of his heart.

Two weeks after Marianne receives Willoughby‟s letter, Elinor

has to break the news of his marriage. At first, Marrianne accepts it

will resolute composure, but for the rest of the day she is in a pitiable

state.

d) Falling Action

When Marianne is at Cleveland, the home of the Palmers,

Marianne is ill with a violent cold. As she does no improvements,

Mrs. Jennings sends for the apothecary, who pronounces her disorder

to be of an infectious variety. Things seem very bad and Mrs. Jennings

convinces herself that Marianne would not survive. Sir John Midleton

has met Wiloughby and told him of Marianne‟s morbid condition. But

when Willoughby returns back to Marianne, she has no sorry because

the family has suffered on her behalf.

e) Resolution

Finally the story gets into a stable condition when Edward says

that he would not Marry Lucy, instead she elopes with his brother,

Robert. Everything ends happily. Elinor and Edward are married.

 49

Eventually Marianne marries Colonel Brandon, someone whom

Marianne could never love before.

3. Setting

There are three kinds of setting in “ Sense and Sensibility “ film.

They are setting of time, setting of place, and setting of social

background.

1) Setting of time : based on the stories, the film takes place around the

years of 1797- 1798. It can be seen from the way their dress, their

lifestyle and the vehicle still using cart.

2) Setting of place : as the places in the film are in Norland Park near

London, Barton Park, and Cleveland.

3) The social background

The social background of this film is the small circle of gentle country

people who seem to have nothing to do except to pay visits, take

walks, talk and dance.

4. Character

Character is person in literary work or the personality of such

figure. In “ Sense and Sensibility “ film there are six major character and

thirteen supporting characters. The writer is going to tell the characters of

the film “ Sense and Sensibility “, as follows:

1) Elinor Dashwood

The eldest daughter of Mr. and Mrs. Dashwood and the heroine of this

story. Elinor is composed and affectionate, both when she falls in love
 50

with Edward Ferrars and when she comforts and supports her younger

sister Marianne.

2) Marianne Dashwood

The second daughter of Mr. and Mrs. Dashwood. Marianne‟s

spontaneity, excessive sensibility, and romantic idealism lead her to

fall in love with John Willoughby, though he painfully spurns her,

causing her to finally recognize her misjudgment about him. After she

turns of heart, she ultimatly marries her long standing admirer,

Colonel Brandon.

3) Edward Ferrars

The sensible and friendly older brother of Fanny Dashwood and

Robert Ferrars. Edward develops a close relationship with Elinor

while staying at Norland, and ultimately marries her, after he is freed

from secret enggagement to Lucy Steele.

4) Colonel Brandon

A retired officer and friend of Sir John Midleton who falls in love

with Marianne Dashwood and acts kindly, honorably, and graciously

towards the Dashwoods throughout the film.

5) Fanny Dashwood

The selfish, snobbish, and manipulative wife of John Dashwood and

the sister of Edward and Robert Ferrars.

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6) Mrs. Dashwood

The kind and loving mother of Elinor, Mariane and Margaret, and

second wife of Henry Dashwood. She has inherited no fortune of her

own, but wants the best for her daughters, and shares Marianne‟s

romantic sensibility.

Supporting characters:

- Henry Dashwood

The father of John Dashwood and, by a second marriage, of Elinor,

Marianne and Margaret. He dies in the opening scene of the film.

- John Dashwood

The weak- minded and money grubbing heir to the Norland estate.

Under his wife, Fanny‟s suggestion, he leaves his mother and sisters

with very little money and remains largerly unconcerned about their

welfare.

- Margaret Dashwood

Good- humored youngest daughter of Mr. and Mrs. Henry Dashwood.

- Mrs. Jennings

Well- intentioned mother who invites the Dashwood sisters to stay

with her in London.

- John Willoughby

An attractive, handsome deceitful young man who wins Marianne

Dashwood‟s heart.
 52

- Sir John Midleton

The jovial but vulgar distant relative of the Dashwoods who invites

Mrs. Dashwood and her three daughters to stay at Barton cottage.

- Lady Midleton

A distant relation of the Dashwoods who live at Barton Cottage with

her husband Sir John Midleton.

- Mr. Thomas Palmer

Mrs. Palmer‟s gruff, unemotional husband.

- Mrs. Charlote Palmer

Mrs. Jennings is talkative and foolish daughter who invites the

Dashwood sister to stay at her home in Cleveland on their way from

Lndon to Barton.

- Miss. Sophia Grey

The wealthy heiress whom Willoughby marries after abandoning

Marianne.

- Robert Ferrars

A conceited coxcomb and the younger brother of Edward and Fanny.

- Lucy Steele

Mrs. Jennings cousin and sly, selfish, and insecure young woman.

- Anne Steele

Lucy Steele‟s older, unmarried sister who accidentally reveals her

sister‟s secret enggagement to Edward.

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5. Point of View

Point of view is the technique that the is used by the author to find

and tell the meaning of this artistic work works to the peope.the movies

uses a third person omnicient, because the narrator is an anonymous

person outside the story who plays an all knowing role. He not only

reports what the characters do and say but also enters the minds of the

characters and comments on their actions.

C. Discussion

Now the writer is going to discuss moral values that can be found

from the film “ Sense and Sensibility “. The discussion is as follows :

1. Moral Values

Basically, moral is the distinction between bad and good conducts

which can generally be accepted in a social life. In talking about moral we

can briefly say that moral is concerned with, or related to human behavior,

especially the distinction between good or bad, or right and wrong

behavior.

In a literary work, moral value is like a theme which is expressed in

the body of a story. A moral value is something that the researcher tries

to convey to the readers. It is the knowledge to be presented in a story. In

general, moral can be defined as the distinction between good and bad,

right and wrong with regard to attitudes, behavior, character, etc.

 54

Here is the list of the bad and the good moral values based on the film

“Sense and Sensibility”:

GOOD MORAL VALUES BAD MORAL VALUES

Calm common sense Excessive sensibility
Responsible Heartlessness
Kind Sly
Attentive Odd
Good understanding Greedy

2. The Positive Moral Values

a. Calm common sense

In this film, the moral values of calm common sense is pointed

to Elinor. Elinor, the eldest sister of Mrs. Daswood whose advice is so

affective and whose coolness of judgement is one of her good

qualities, though she is nineteen, is the counselor of her mother, a

good-hearted woman who tends to be imprudent, especialy when she

wants to leave Norland Park. At once Elinor prudently restrains her

until they could find a house within their means. She enables her

frequently to counteract to the advantages of them all, the eagerness of

Mrs. Dashwood which must generally have led to imprudence. She

has excellent heart and her disposition is affectionate.

It can be shown in these following dialogues :

Elinor : “ I shall start making inquiries for a new house at once.

Until when we must try to bear their coming”.

minutes 00:04:09)
 55

Elinor : Margaret, are you there ? John and Fanny will be here

soon.

(minutes 00:04 :16)

When Elinor finds out Edward‟s engagement to Lucy, she does

not cry like Marianne, but she conceals both the secret and her deeply

distressed feeling from her mother and Marianne. She just wants to

judge the sincerity of Lucy‟s feeling to Edward, and above all she

wants to convince Lucy that she is not hurt by Lucy‟s relegation. So,

during a visit to Barton Hall, she offers her self to finish a basket,

which she is making for Anna-Maria, a daughter of Lady Midleton.

It can be showed in these following dialogues :

Elinor : I do not attempt to deny that I think very highly of him

that I greatly esteem that I like him.

(minutes 00:19:15)

Elinor‟s good sense also could be seen when her sister,

Marianne, and mother disliked Fanny, the wife of John Dashwood,

Mrs. Dashwood‟s stepson. She tries to receive her step-sister-in-law

on her arrival in their home and treats her with proper attention. She

prevails on her mother and Marianne to do likewise.

Moreover, Elinor could also control her emotion when she falls

in love with Edward. She does not seem to assess Edward as an

individual. She lists a number of admirable qualities that time: her

mind is well-informed, his enjoyment of book is just exeedingly great,

 56

and her imagination is alive. Therefore it is just proper that she should

admire him. She does not have a list of what she requires in a suitor,

not like Marianne.

It is clear that Elinor is a girl who has clam common sense

including the ability to think about things in practical way, and make a

sensible decision without being nervous. And, maybe, this attitude can

be considered as a good common sense and positive thinking.

b. Responsible, kind and attentive

Colonel Brandon is an old bachelor who has this attitude. In this

film, colonel Brandon is so responsible, kind, and anttentive.

Responsbility can be defined as doing some duty to deal with or take

care of somebody or something. He is a good gentleman with a

pleasant countenance. Kindness can be considered as an attitude of

being kind, helpful, and thoughtful to other people.

It can be shown in these following dialogues :

Mrs. Jennings : “Look at him now. So attentive I shall try an

experiment on him.

(minutes 00:35:25)

He has done all this thing. He doen not like to marry a rich

woman whose considerations are based on money. Although he is

wealthy, he still cares about poor people. This is proven by all he has

done for Eliza, his ward. He puts her in a good school,visits her

whenever he could, and often has her stay at Seaford. And when he is
 57

seduced by Mr. Wiloughby who latter leaves her, the colonel

challenges him to duel, but neither is wounded. He then tells Elinor

about this event in order that the latter tells Marianne everything is

allright, because he wants to prevent Willoughby from harming

Marianne.

When Marianne suffers from a violent cold, and she is in

Cleveland, home of the Palmer‟s, the colonel offers himself to

accompany Mrs. Dashwood to Cleveland to fetch her daughter, and

the Dashwoods return to Barton Hall on the colonel‟s carriage. And

Marianne is determined to be as cheerful as posible.

It can be shown in these following dialogues :

Colonel Brandon : “How is the invalid ”

Marianne : “ Thank you so much, Colonel“.

(minutes 00:43:14)
Colonel Brandon : Then permit me to accompany you and take you
straight on from Cleveland from Barton.
(minutes 01:24:30)
The colonel also offers the Seaford to help Edward, and tactfully

transmits her offer through Elinor, because Edward does not have a

living. And all of his kind attitudes are finaly rewarded when he

marries Mariane.
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c. Good understanding

Good umderstanding is one of moral values in Edward attitude.

Edward is not handsome, but his manner requires intimacy to please

his surrounding people. He is too diffident to do justice to himself.

But when his natural slyness is overcome, his behavior gives every

indication of an open affectionate heart. His understanding is good.

And his education has given him a solid improvement

He is dependent upon his favor of his mother. His mother and

his sister want him to be a fine figure in the world. His mother

interests him in political concern to get into parliament or to see him

connected with some of the great men, but all her wishes center in

domestic comfort and a quiet private life. He can not fullfil all of his

mother‟s wishes. He is more interested in religion than prestige for

social reasons. Finaly, he decides to enter the church to be a country

person.

Good undertanding can be defined as the knowledge that

somebody has about a particular subject or situation. Edward who has

this quality keeps his promise to Lucy about their engagement,

although his mother disinherits him if he will not break his words to

Lucy, because she would ever prefer Elinor to Lucy. She also often

visits the Daswoods when they move to Barton Park as she has done

when they stay at Norland Park.

It can be shown in these dialogues :

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Edward : “ I have been much enggaged elsewhere “

(minutes 01:31:56)

3. The Negative Moral Values

a. Excessive sensibility

An excessive sensibility maybe determined as the ability to

experiemce and understand the feelings too much. It refers to

Marianne. She is very sensitive woman, and she is spoiled. It is

shown in the formidable list of what she requires in a suitor. She says

that she could not be happy with a man whose taste does not in every

point coincide with her own. He must enter into all of her feelings.

Here is the supporting dialogues :

Mrs. Dashwood : I think that may be taking your romantic

sensibilities a little far.
Marianne : The more I know of the world, the more I
convinced taht I shall never see a man whom I
can trully love.
(minutes 00:17:53)
Elinor : Yes. Marianne does not aprove of hiding
emotions. In fact, her romantic prejudices have
the unfortunate tendency to set propriety at
naught.
(minutes 00:51:56)
He must enjoy then same music, and the same books. So, when

she acquanted to gentleman, Willoughby, a man who rescues her

when she is cought in the down pour, she falls in love with him in

straight away. She loves her personalities and his ways are equal to
 60

what her fancy has ever drawn for a hero of a favourite story. She is

soon captivated by Willoughby who comes to visit her everyday. His

society becomes gradualy her most equisite enjoyment. They read,

they walk, and they walk together.

Marianne‟s sensibility is shown up amusingly when she

respects colonel Brandon, because she regards him as an old and

rheumatic man, and feels that any woman interested in someone of

his age could only expect an occupation as a nurse.

Marianne‟s sensibility makes ill, because of Willoughby‟s

departure from London. All the typical symptoms of romantic

melancholy is her sleepless nights, listless days, loss of appetite,

headaches, and periods of weeping and despairs. She is, however,

unconcerned about the misery, she inflicts on her family.It has

laready been mentioned above that Marianne is a girl who has

oversensitive feelings. That makes her lose her common senses.

b. Heartlessness

In “Sense and Sensibility”, Austen mostly addresses her

mockeries to the man who threats young women who fall in love with

him unfairly. When Marianne falls in love with a man, at the

beginning, he seems to answer all Marianne‟s romantic notions. He is

a handsome boy, gallant and is to inherit a lovely estate that reminds

him of a girl who lives in Norlad Park. He leaves Marianne to

London announcing his rich relatives, Mrs. Smith, sends her there on
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business, and tells her evasive by when Mrs. Dashwood assures him

that he would always be welcome at Barton Cottage.

Heartlessness can be defined as a feeling of pitilessness for

other people. Mr. John Willoughby is a person of such a negative

,qualities. He becomes the object of the author‟s ridicule. Willoughby

is a man who makes girl frustated, especialy Marianne till she suffers

from a violent cold. He first appears in a romantic role of a

rescuerand completely captivates Marianne. But, when she is in

London, he ignores her completely and sends her a letter with rude

words.

It can be showed in this following dialogues :

Willoughby : My dear madam, I am quite at a loss to dicover in what

point I could be so unfortunate as to offend you. My

esteem for your family is very sincere but if I have

given rise to a belief of more than I felt or meant to

express, I shall reproach myself for not having been

more guarded. My affections have long been engaged

elswhere and it is with great regret that i return your

letters and the lock of hair which you so obligingly

bestowed upon me. I am. John Willoughby.

(minutes 01:20:51)

One day, when Marianne goes with Elinor to a party at a lady

midleton‟s, soon Elinor perceives Willoughby in a earnest

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converstion with a very fashionable looking young woman. He bows,

but he does not approach them. Marianne‟s exclamation brings him to

her side, and when when she asks him if he has received her messages

he seems embarrased but answer that he has. He turns hastily away.

And one day he sends a letter telling her that he actually has never

been attracted to Marianne. He writes that he is married to Miss.

Grey, a very fashionable looking young woman.

c. Sly and Odd

Sly and odd are the bad moral values found in Lucy‟s attitude.

Lucy is a sly and odd girl. “sly” means the intention to act or do

something in a secret or dishonest way or to trick people. For

example, when she visits Lady Midleton‟s house at Barton Hall, she

admires the little charming family she has, she declares that she has

never seen such fine childern in her life. She tells that she is quite

keen upon the already and ends that she is always distractedly fond of

childern. She loves to see childern full of life and spirit; she could not

bare them to be docile and quite.

It can be showed in this following dialogues :

Lucy : “You may well be surprised. I should never have

mentioned it, had i not known I could entirely trust you
to keep our secret. Edward cannot mind me telling you
for he looks on you quite as his own sister”.
(minutes 01:03:58)
Charlote : “Oh, you sly things ! It was the Misses Dashwood she
wantedto see, not Delaford, Mamma ! i have heard
 63

nothing but Miss Dashwood that for I dont know how

long! And what do you think of them, Lucy? My mother
has talked of nothing else in her letters since you came to
Barton, Mrs. Dashwood. Mr Palmer are they not very
creatures she describes ?”.
(minutes 00:52:19)
She directly draws her worktable near her, and makes a basket

for a spoiled child. Anna Maria gets the favor of Lady Midleton.

Exceptionaly sly, Lucy is also an odd girl, because she hans an

attitude that shows a strange appearance, style, etc. Elinor sees her

oddity when she asks her a question. She asks if Elinor is personaly

acquainted with her sister in law‟s mother, Mrs. Ferrars. So, Elinor

thinks that the question is a very odd one and her countenance

expresses it as she answers that she has never seen Mrs. Ferrars. Lucy

then tells her that [she has been engaged to Mr. Edward Ferrars for

four years. But when they broke up, she declined Edward‟s offer to

release her from her engagement, but tells Elinor that it was she who

offered to set Edward free. Then she subtly flatters Robert and beguils

him into Ferrars by flattery and uses penitence and actualy becomes

the local lady‟s favourite daugter-in-law.

It can be shown in these following dialogues :

Lucy : “I’m sure you think me strange for inquiring if I dared tell.

(minutes 01:02:48)
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d. Greedy

Greedy is one of bad moral values found in “Sense and

Sensibility”. It can be implied towards fanny‟s attitudes. Fanny is a

greedy woman who hates Mrs.Dashwood and Dashwood girls. She

always manipulates the money that should be given to them after the

death of Mr. Dashwood

It can be showed in these following dialogues :

Fanny : But if she should live longer than fifteen years we would be

completely taken him. People always live forever when

there is an annuity to be paid them.

(minutes 10.02.12)

D. Application of “Sense and Sensebility“ film adapted from Jane

Austen’s novel in English Language Teaching

Learning is a combination element including elements of human,

material, facilities, equipment and procedures that affect each other to

achieve the learning objectives (Hamalik, 2007:56).

Learning literature is to be taught in schools, because it can help

improve language skills, knowledge, creativity, and taste can develop and

support the formation of personality in the students to appreciate literature

and sharpen the sense, reasoning, and imagination and sensitivity to

people and the environment.

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In teaching literature at college, a teacher must have extensive

knowledge. So, the lecturers can teach it clearly and the students can get

the lesson well.

As a lecturer, we should make lesson plan in teaching English. A

lesson plan is something used by the lecturer before he or she teaches the

material for the students. The lecturer will be easy in teaching English by

using lesson plan.

Lecture Plan

College : Muhammadiyah University of Purworejo

Subject : Literary Appreciation

Semester : VI

Theme : Moral values of Sense and Sensibility film

Skill : Listening and speaking

Time : 4 X 50 (2 meeting)

A. Standard Competence

Understanding meaning of dialogues in “Sense and Sensibility”

film and finding moral values in the film.

B. Basic Competence

Expressing the meaning of dialogues in “Sense and Sensibility”

film, and finding moral values in the film.

C. Indicators

1. The students can be enjoy and appreciate the film

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2. The students can identify the meaning of dialogues in “Sense and

Sensibility” film

3. The students can find moral values in “Sense and Sensibility” film

D. The goals of learning

After finishing the activities, the students are hoped to able to :

1. Enjoying and appreciate the film

2. Identifying the meaning of dialogues in Sense and Sensibility film

3. Finding moral values of “Sense and Sensibility” film

E. Teaching Material

1. Sense and Sensibility film

2. Literature books

3. LCD

F. Learning strategies

One strategy that can be used is a literary starategy that includes

three phases, namely : crawl phase, interprettion phase, and recreation

phase.

G. Teaching Procedures

No Lecture‟s Activities Students‟ Activities

1. Giving greeting Answer the greeting

2. Checking attendance State the attendance

3. Leading the guessing game The students guess

Ex : giving some pictures of what picture are

literature work, like film, drama,

 67

novel etc.

4. Dividing the class into groups Making group of

work

5. Playing the film Watching the film

6. Leading the discussion on finding Following the

the moral values in “ Sense and discussion to find

Sensibility “ film moral values in

“Sense and

Sensibility” film

7. Checking the students works Reporting the

discussion of the

group

8. Helping the students finish the work Asking some

questions about

moral values

9. Closing the meeting Saying goodbye

H. Learning Resources

- Sense and Sensibility film

I. Media

1. Laptop and LCD

2. Worksheet
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J. Evaluation

Evaluation is the last activity in teaching learning activity. The

way of evaluation is by using essay.

Essay :

1. Write the summary of Sense and Sensibility film!

2. What lesson can we take from Sense and Sensibility film based on

the moral values!

The strategy that can be used is a literary strategy that includes three

phases, namely :

1) Crawl Phase

Crawl phase is the first phase in the strategy of teaching film.

This phase provides the opportunity for students to appreciate it. In this

phase the students explore the “Sense and Sensibility”. This is done by

watching the film once. The lecturer asks students to understand

meaning of the dialogues in the film. Then the students find the moral

values that can be found in the film.

2) Interpretation Phase

On interpretation phase, the lecturer interpret the moral values

found in the film. The lecturer explains the “Sense and Sensibility”

film, and then the teacher tells the students the meaning of moral

values in this phase. And the lecturer divides the class into several
 69

groups. And then the lecturer asks students to discuss the material in

group.

3) Recreation phase

Recreation phase is the production phase. In this phase the

students apprreciate what they get. So, the students get results of their

discussion by their own language. The lecturer asks one of the groups

to present of the result their discussion in front of the class. The other

group gives some opinion and suggestion to the presenter.

Based on the “Sense and Sensibility” film, the lecturer can teaches the

students and gives suggestion to the students to take positive moral values

and leave the negative moral values.

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CHAPTER V
CONCLUSION AND SUGGESTION

This chapter deals with the conclusion of the researcher‟s research on

realization of moral values in Sense and Sensibility film adapted from Jane

Austen‟s novel, and its application in English Language Teaching. Some

suggestions are also put forward to those who are concerned.

A. Conclusion

After watching the film, there are some conclusions according to the

researcher and the students. They are as follows:

a) There are some moral values found in “Sense and Sensibility”

including bad and good moral values.

b) There are positive moral values including calm common sense,

responsible, kind, attentive and good understanding.

c) There are negative moral values in the story including excessive

sensibility, heartlessness, sly, odd and greedy.

d) “Sense and Sensibility” film adapted from Jane Austen‟s novel can be

applied in English Language Teaching in literary appreciation subject.

B. Suggestion

1. To the Lecturer

The lecturer is suggested to use the film or another kind of media as

media in teaching learning process at school, college or university. There

are so many advantages which can be taken by watching film. Literature,

70
 71

understanding another culture and vocabulary of a certain language

mastery are examples of the materials which can be learned from the

film.Try to develop innovation and creativity in students by discussing

more and more about English Language.

2. To the Students

Literature is very interesting to be studied. One of literary works is

film. The students can learn many things through this film. However, there

are also so many negative aspects in a film that give bad effect to the

students. The students should realize, understand, and differentiate which

one is right which one is wrong. Then, the students should take only good

things from the film.

3. To the reader

The writer could only give knowledge about the study of moral

values and its application in English Language teaching from the thesis,

therefore further studies on analyzing film are required. The readers are

expected to have the capacity of moral values understanding.

 72

BIBLIOGRAPHY

Baldic, Cris. 1996. Oxford Concise Dictionaryof Literature Terms. New York:
Oxford University Press.

Brown, H, Douglas.2007. Principle of Language Learning and Teaching. New

York: Pearson Longman.

Connoly, Francis Zavier.1995. The TypeS of Literature. New York : Harasurt

Brace.

Ellie and Marshall. 2006. Teaching and Learning Literature. London: SAGE.

Erlin.2011. Intrinsic Elements and Educational Values of “ Dangerous Mind”

movie written by Louanne Jhonson and its application in English
Language Teaching. Purworejo: Muhammadiyah University of
Purworejo.

Hamalik, Oemaer.2007. Kurikulum dan Pembelajaran. Jakarta: Bumi Aksara.

Hornby, A. S.1995. Oxford Advanced Learner’s Dictionary of Current English.

England: Oxford University Press.

Hornby, A.S. 2000. Oxford Advanced Learner’s Dictionary of Current English.

England: Oxford University.

J.H. Pickering and J.D. Hooper.1986. Literature. New York : Macmillan

Publishing Company.

Kenney, William.1996. How to Analyze Fiction New York. Monarch Press. Simon
and Schuster.

Khakim, Lukman. 2001. The Analysis of Characters and Moral Values of Play
Entitled” The Good Woman of Setzuan” by Bertolt Brench. Purworejo:
Muhammadiyah University of Purworejo.

Nurgiyantoro, Burhan. 2002. Teori Pengkajian Puisi. Yogyakarta: Gajah Mada

University Press.

Permitasari, Dea.2011. A study of Educational Values Found in The Entitled “ 3

Idiots” Based On The Screenplay Directed By Rajkumar Hirani.
Purworejo: Muhammadiyah University of Purworejo.

Sayuti, Suminto.1998. Dasar- Dasar Analis Fiksi.Yogyakarta:LP3S.

 73

Webster, Noah.1989. Webster’s Third New International of The English

Language. Chicago: G and C Merienlo

Other Sources from web site :

http://www.movie2k.to/movie-931721-Sense+and+Sensibility.html. Accessed on
March 26th 2012.

http://www.ehow.com.video5103554teach-english-throughfilm.html#
ixzzIJNqF5xdC. Accessed on April 3th 2012.

http://www.Filmsite.Org/genres.html. Accessed on April 5th 2012.

http://www.jasa.net.au/ jabiog.htm. Accessed on April 5th 2012.

http://simple.wikipedia.org/wiki/Movie. Accessed on May 7th 2012.

http://en.wikipedia.org/wiki/plot.html. Accessed on May 21th 2012

http://classiclit.about.com/od/sensesensibility/a/Sense-And-Sensibility-
Review.htm. Accessed on May 2th 2012.

http://www.mcgoodwin.net/pages/otherboos/jasenseandsensibility.html. Accessed
on My 23thy 2012.
74
75
 76

SENSE AND SENSIBILITY FILM

Directed By : Ang Lee

Producer : Linsay Doran

Screen Play : Emma Thompson

Novel Written : Jane Austen

Published : 1995

Language : British English

Actor Role

- James Fleet John Dashwood

- Tom Wilkinson Mr. Dashwood

- Harriet Walter Fanny Dashwood

- Kate Winslet Marianne Dashwood

- Emma Thompson Elinor Dashwood

- Gemma Jones Mrs.Dashwood

- Hugh Grant Edward Ferrars

- Emmilie Francois Margaret Dashwood

- Ellizabeth Spriggs Mrs. Jennings

- Robert Hardy Sir John Midleton

- Isabelle Amyes Betsy

- Alan Rickman Colonel Brandon

- Greg Wise John Willoughby

- Immogen Stubbs Lucy Steele

 77

The main Actors in The Film “ Sense and Sensibility “

 78

Mrs. Dashwood and her daughters.

Marianne married with Colonel Brandon

 79

Elinor married with Edward Ferrars.

 80

EXT. OPEN ROADS - NIGHT - TITLE SEQUENCE

A series of traveling shots. A well-dressed, pompous-looking

individual (JOHN DASHWOOD, 35) is making an urgent journey
on horseback. He looks anxious.

EXT. NORLAND PARK - ENGLAND - NIGHT

Silence. Norland Park, a large country house built in the

early part of the eighteenth century, lies in the moonlit
parkland.

INT. NORLAND PARK - MR DASHWOOD'S BEDROOM - NIGHT

In the dim light shed by candles we see a bed in which a MAN

MR DASHWOOD, 52) lies his skin waxy, his breathing
laboured.
Around him two silhouettes move and murmur, their clothing
susurrating in the deathly hush. DOCTORS. A WOMAN (MRS
DASHWOOD, 50) sits by his side, holding his hand, her eyes
never leaving his face.

MR DASHWOOD
(urgent)
Is John not yet arrived?

MRS DASHWOOD
We expect him at any moment, dearest.

MR DASHWOOD looks anguished.

MR DASHWOOD
The girls--I have left so little.

MRS DASHWOOD
Shh, hush, Henry.

MR DASHWOOD
Elinor will try to look after you
all, but make sure she finds a good
husband. The men are such noodles
hereabouts, little wonder none has
pleased her.

They smile at each other. MRS DASHWOOD is just managing to

conceal her fear and grief.
 81

MRS DASHWOOD
But Marianne is sure to find her
storybook hero.

MR DASHWOOD
A romantic poet with flashing eyes
and empty pockets?

MRS DASHWOOD
As long as she loves him, who ever he
is.

MR DASHWOOD
Margaret will go to sea and become a
pirate so we need not concern
ourselves with her.

MRS DASHWOOD tries to laugh but it emerges as a sob. An

older
MANSERVANT (THOMAS) now enters, anxiety written on every
feature.

THOMAS
Your son is arrived from London,
sir.

MR DASHWOOD squeezes his wife's hand.

MR DASHWOOD
Let me speak to John alone.

She nods quickly and he smiles at her with infinite

tenderness.

MR DASHWOOD
Ah, my dear. How happy you have made
me.

MRS DASHWOOD makes a superhuman effort and smiles back. She

allows THOMAS to help her out. She passes JOHN DASHWOOD as
he enters, presses his hand, but cannot speak. JOHN takes
her place by the bed.

JOHN
Father...

MR DASHWOOD summons his last ounces of energy and starts to

whisper with desperate intensity.

MR DASHWOOD
John you will find out soon enough
from my will that the estate of
Norland was left to me in such a way
as prevents me from dividing it
between my families.
 82

JOHN blinks. He cannot quite take it in.

JOHN
Calm yourself, Father. This is not
good for you.

But MR DASHWOOD continues with even greater determination.

MR DASHWOOD
Norland in its entirety is therefore
yours by law and I am happy for you
and Fanny.

JOHN looks torn between genuine distress and unexpected

delight.

MR DASHWOOD
But your stepmother my wife and
daughters are left with only five
hundred pounds a year, barely enough
to live on and nothing for the girls'
dowries. You must help them.

JOHN's face is a picture of conflicting emotions. Behind

them is the ominous rustling of parchments.

JOHN
Of course

MR DASHWOOD
You must promise to do this.

A brief moment of sincerity overcomes JOHN's natural

hypocrisy.

JOHN
I promise, Father, I promise.

MR DASHWOOD seems relieved. Suddenly his breathing changes.

JOHN looks alarmed. He rises and we hear him going to find
the DOCTOR.

JOHN
Come! Come quickly!

But it is we who share the dying man's last words.

MR DASHWOOD
Help them.

EXT. JOHN AND FANNY'S TOWN HOUSE - LONDON - DAY

Outside the house sits a very well-to-do carriage. Behind it

waits another open carriage upon which servants are laying
trunks and boxes.
 83

FANNY (V.O.)
'Help them?'

INT. JOHN AND FANNY'S TOWN HOUSE - DRESSING ROOM - DAY

JOHN is standing in mourning clothes and a traveling cape.

He is watching, and obviously waiting for, a pert

WOMAN (FANNY
DASHWOOD) who is standing by a mirror looking at him keenly.

FANNY
What do you mean, 'help them'?

JOHN
Dearest, I mean to give them three
thousand pounds.

FANNY goes very still. JOHN gets nervous.

JOHN
The interest will provide them with
a little extra income. Such a gift
will certainly discharge my promise
to my father.

FANNY slowly turns back to the mirror.

FANNY
Oh, without question! More than
amply...

JOHN
One had rather, on such occasions,
do too much than too little.

A pause as FANNY turns and looks at him again.

JOHN
Of course, he did not stipulate a
particular sum.

INT. JOHN AND FANNY'S CARRIAGE - DAY

JOHN and FANNY are on their way out of London

JOHN
Fifteen hundred then. What say you
to fifteen hundred?

FANNY
What brother on earth would do half
so much for his real sisters--let
alone half-blood?
 84

JOHN
They can hardly expect more.

FANNY
There is no knowing what they expect.
The question is, what can you afford?

ROADSIDE INN - DAY

JOHN and FANNY are waiting as the OSTLERS make the final
adjustments to their carriage. The LANDLORD hovers, waiting
for a tip.

JOHN
A hundred pounds a year to their
mother while she lives. Would that
be more advisable? It is better than
parting with the fifteen hundred all
at once.

He displays some coins in his hand. FANNY removes one and

nods.

FANNY
But if she should live longer than
fifteen years we would be completely
taken in. People always live forever
when there is an annuity to be paid
them.

JOHN gives the coins to the LANDLORD.

JOHN AND FANNY'S CARRIAGE - DAY

JOHN and FANNY joggle on.

JOHN
Twenty pounds now and then will amply
discharge my promise, you are quite
right.

FANNY
Indeed. Although to say the truth, I
am convinced within myself that your
father had no idea of your giving
them money.

JOHN
They will have five hundred a year
amongst them as it is--

FANNY
--and what on earth can four women
want for more than that? Their
housekeeping will be nothing at all
 85

they will have no carriage, no horses,

hardly any servants and will keep no
company. Only conceive how comfortable
they will be!

FANNY
They will be much more able to give
you something.

NORLAND PARK - MARGARET'S TREE-HOUSE - DAY

ELINOR comes to the foot of a large tree from which a small

staircase issues.

ELINOR
Margaret, are you there? Please come
down. John and Fanny will be here
soon.

A pause. ELINOR is about to leave when a disembodied and

truculent young voice stops her.

MARGARET
Why are they coming to live at
Norland? They already have a house
in London.

ELINOR
Because houses go from father to
son, dearest not from father to
daughter. It is the law.

Silence. ELINOR tries another tack.

ELINOR
If you come inside, we could play
with your atlas.

MARGARET (V.O.)
It's not my atlas any more. It's
their atlas.

CLOSE on ELINOR as she ponders the truth of this statement.

Dinner is over. JOHN and FANNY are examining plans of the

Norland estate, looking for somewhere to build a hermitage.
EDWARD is reading out loud. ELINOR embroiders and listens.
MRS DASHWOOD and MARIANNE make up the rest of the audience,
the latter in a state of high impatience.

EDWARD
No voice divine the storm allayed No
light propitious shone, When snatched
 86

from all effectual aid, We perished

each alone: But I beneath a rougher
sea, And whelmed in deeper gulfs
than he.

MARIANNE jumps up and goes to him.

MARIANNE
No, Edward! Listen.

She takes the book from him and reads the stanza with
passionate brio.

MARIANNE
Can you not feel his despair? Try
again.

Rather mortified, EDWARD starts again, but not before

receiving a sympathetic look from ELINOR which seems to
comfort him a little.

INT. NORLAND PARK - MORNING ROOM - DAY

MRS DASHWOOD is ruminating sadly. MARIANNE rushes in holding

a letter.

MARIANNE
Mamma, look. This has just arrived.

MRS DASHWOOD
(reading from the
letter)
'I should be pleased to offer you a
home at Barton Cottage as soon as
ever you have need of it' why, it is
from my cousin, Sir John Middleton!

MARIANNE
Even Elinor must approve the rent.

MRS DASHWOOD looks at the letter again and thinks.

MRS DASHWOOD
Has Elinor not yet seen this?

MARIANNE
No I will fetch her.

MRS DASHWOOD
Wait. No. Let us delay.

MARIANNE
Why?

MRS DASHWOOD
I think--I believe that Edward and
 87

Elinor have formed an attachment.

Marianne nods, a little reluctantly.

MRS DASHWOOD
It would be cruel to take her away
so soon and Devonshire is so far.

MRS DASHWOOD makes her decision. She takes the letter and
hides it in the pocket of her gown. MARIANNE looks on
frowningly.

MRS DASHWOOD
Why so grave? Do you disapprove her
choice?

MARIANNE
By no means. Edward is very amiable.

MRS DASHWOOD
Amiable but?

MARIANNE
But there is something wanting. He
is too sedate his reading last night.

MRS DASHWOOD
Elinor has not your feelings, his
reserve suits her.

MARIANNE thinks for a little.

MARIANNE
Can he love her? Can the ardour of
the soul really be satisfied with
such polite, concealed affections?
To love is to burn to be on fire,
all made of passion, of adoration,
of sacrifice! Like Juliet, or
Guinevere or Heloise.

MRS DASHWOOD
They made rather pathetic ends, dear.

MARIANNE
Pathetic! To die for love? How can
you say so? What could be more
glorious?

MRS DASHWOOD
I think that may be taking your
romantic sensibilities a little far.

MARIANNE
The more I know of the world, the
more I am convinced that I shall
 88

never see a man whom I can truly

love.

MRS DASHWOOD
You require so much!

MARIANNE
I do not! I require only what any
young woman of taste should a man
who sings well, dances admirably,
rides bravely, reads with passion
and whose tastes agree in every point
with my own.

INT. NORLAND PARK - ELINOR'S BEDROOM - NIGHT

ELINOR is in bed, deep in thought. MARIANNE enters in her

nightclothes, carrying a book of poetry. She reads, teasingly.

MARIANNE
Is love a fancy, or a feeling? No It
is immortal as immaculate truth 'Tis
not a blossom shed as soon as Youth
Drops from the stem of life for it
will grow In barren regions, where
no waters flow Nor ray of promise
cheats the pensive gloom--

She jumps onto the bed. ELINOR smiles somewhat suspiciously.

MARIANNE
What a pity it is that Edward has no
passion for reading.

ELINOR
It was you who asked him to read and
then you made him nervous.

MARIANNE
Me?

ELINOR
But your behaviour to him in all
other respects is perfectly cordial
so I must assume that you like him
in spite of his deficiencies.

MARIANNE
(trying hard)
I think him everything that is amiable
and worthy.

ELINOR
Praise indeed!
 89

MARIANNE
But he shall have my unanswering
devotion when you tell me he is to
be my brother.

ELINOR is greatly taken aback and does not know how to reply.
Suddenly MARIANNE hugs her passionately.

MARIANNE
How shall I do without you?

ELINOR
Do without me?

MARIANNE pulls away, her eyes full of tears.

MARIANNE
I am sure you will be very happy.
But you must promise not to live too
far away.

ELINOR
Marianne, there is no question of
that is, there is no under standing
between...

ELINOR trails off. MARIANNE looks at her keenly.

MARIANNE
Do you love him?

The bold clarity of this question discomforts ELINOR.

ELINOR
I do not attempt to deny that I think
very highly of him that I greatly
esteem that I like him.

MARIANNE
Esteem him! Like him! Use those
insipid words again and I shall leave
the room this instant!

This makes ELINOR laugh in spite of her discomfort.

ELINOR
Very well. Forgive me. Believe my
feelings to be stronger than I have
declared but further than that you
must not believe.

MARIANNE is flummoxed but she rallies swiftly and picks up

her book again.

MARIANNE
'Is love a fancy or a feeling?' Or a
 90

Ferrars?

ELINOR
Go to bed!

ELINOR blushes in good earnest. MARIANNE goes to the door.

MARIANNE
(imitating Elinor)
'I do not attempt to deny that I
think highly of him greatly esteem
him! Like him!'

And she is gone, leaving ELINOR both agitated and amused.

ELINOR is silent with amazement at this unexpected history.

MRS JENNINGS
Look at him now, though. So attentive.
I shall try an experiment on him.

ELINOR
Oh no, please, dear Mrs Jennings,
leave the poor Colonel alone.

MRS JENNINGS
No, no, it is just the thing--all
suitors need a little help, my dear

BRANDON is admitted by BETSY. He is carrying a large bunch

of hothouse flowers.

COLONEL BRANDON
How is the invalid?

He hands MARIANNE the flowers with a smile.

MARIANNE
Thank you so much, Colonel.

BRANDON looks after them for a silent moment, and then

collects himself and turns to ELINOR, who is less than
satisfied with their behaviour.

COLONEL BRANDON
Your sister seems very happy.

ELINOR
Yes. Marianne does not approve of
hiding her emotions. In fact, her
romantic prejudices have the
 91

unfortunate tendency to set propriety

at naught.

COLONEL BRANDON
She is wholly unspoilt.

ELINOR
Rather too unspoilt, in my view. The
sooner she becomes acquainted with
the ways of the world, the better.

COLONEL BRANDON looks at her sharply and then speaks very

deliberately, as though controlling some powerful emotion.

COLONEL BRANDON
I knew a lady like your sister--the
same impulsive sweetness of temper--
who was forced into, as you put it,
a better acquaintance with the world.
The result was only ruination and
despair.

LUCY STEELE smiles shyly and looks at the ground. MRS JENNINGS
continues sotto voce to MRS DASHWOOD.

MRS JENNINGS
She probably came on purpose to share
the fun, for there are no funds for
such luxuries at home, poor thing.

LUCY
I had not seen you for so long, dear
Mrs Jennings, I could not resist the
opportunity.

CHARLOTTE
Oh, you sly thing! It was the Misses
Dashwood she wanted to see, not
Delaford, Mamma! I have heard nothing
but 'Miss Dashwood this, Miss Dashwood
that' for I don't know how long! And
what do you think of them now you do
see them, Lucy? My mother has talked
of nothing else in her letters since
you came to Barton, Mrs Dashwood. Mr
Palmer--are they not the very
creatures she describes?

MR PALMER regards his wife with a less than enchanted

expression.

MR PALMER
Nothing like.
 92

ELINOR sits back in deep surprise.

ELINOR
With Fanny's mother? No, I have never
met her.

LUCY
I am sure you think me strange for
inquiring--if I dared tell--

MRS JENNINGS
(shouting over)
If she tells you aught of the famous
'Mr F', Lucy, you are to pass it on.

ELINOR is frozen to the spot.

LUCY
You may well be surprised. I should
never have mentioned it, had I not
known I could entirely trust you to
keep our secret. Edward cannot mind
me telling you for he looks on you
quite as his own sister.

ELINOR walks on mechanically. Disbelief has set in.

ELINOR
I am sorry, but we surely--we cannot
mean the same Mr Ferrars?

LUCY
The very same--he was four years
under the tutelage of my uncle Mr
Pratt, down in Plymouth. Has he never
spoken of it?

MRS JENNINGS'S HOUSE - BEDROOM - DAY

ELINOR finds MARIANNE sitting on the edge of the bed. She

does not acknowledge ELINOR but merely lifts the letter and
reads out, with deadly calm:

MARIANNE
'My dear Madam--I am quite at a loss
to discover in what point I could be
so unfortunate as to offend you. My
esteem for your family is very sincere
but if I have given rise to a belief
of more than I felt or meant to
express, I shall reproach myself for
not having been more guarded. My
 93

affections have long been engaged

elsewhere and it is with great regret
that I return your letters and the
lock of hair which you so obligingly
bestowed upon me. I am etc. John
Willoughby.'

MRS JENNINGS'S HOUSE - DRAWING ROOM - DAY

ELINOR is seated at a desk writing a letter. There is a sudden

rap at the front door. Footsteps are heard and as she turns,
the maid enters with COLONEL BRANDON. ELINOR rises to greet
him.

ELINOR
Thank you for coming, Colonel.

He bows. ELINOR is on edge. BRANDON looks haggard with

concern.

COLONEL BRANDON
How does your sister?

ELINOR
I must get her home as quickly as
possible. The Palmers can take us as
far as Cleveland, which is but a day
from Barton--

COLONEL BRANDON
Then permit me to accompany you and
take you straight on from Cleveland
to Barton myself.

ELINOR takes his hands gratefully.

ELINOR
I confess that is precisely what I
had hoped for. Marianne suffers
cruelly, and what pains me most is
how hard she tries to justify Mr
Willoughby. But you know her
disposition.

Again, MARIANNE endeavours to ignite the lovers. ELINOR tries to

silence MARIANNE with her eyes but to no avail. MARIANNE
puts their coolness down to the presence of LUCY, at whom
she glances with a none too friendly air.

MARIANNE
Why have you taken so long to come
and see us?

EDWARD
I have been much engaged elsewhere.
 94

MARIANNE
Engaged elsewhere! But what was that
when there were such friends to be
met?

LUCY
Perhaps, Miss Marianne, you think
young men never honour their
engagements, little or great.

ELINOR is appalled by this remark but MARIANNE does not notice

it and turns back to LUCY earnestly.

MARIANNE
No, indeed--for Edward is the most
fearful of giving pain and the most
incapable of being selfish of anyone
I ever saw.

EDWARD makes an uncomfortable noise.

MARIANNE
Edward, will you not sit? Elinor,
help me to persuade him.

Now EDWARD can stand it no longer.

EDWARD
Forgive me but I must take my leave--

MARIANNE
But you are only just arrived!

ELINOR rises, desperate for them both to go.

EDWARD
You must excuse me, I have a
commission to attend to for Fanny--

LUCY jumps in like a shot.

LUCY
In that case perhaps you might escort
me back to your sister's house, Mr
Ferrars?

There is an extremely awkward pause.

EDWARD
I would be honoured. Goodbye, Miss
Dashwood, Miss Marianne.

He shakes hands with ELINOR and with MARIANNE, who is silent

with dismay. LUCY takes EDWARD's arm and looks up at him
 95

proprietorially.

After a stiff bow and a muttered farewell from EDWARD, they

leave. MARIANNE looks at her sister in astonishment.

MARIANNE
Why did you not urge him to stay?

ELINOR
He must have had his reasons for
going.

MARIANNE
His reason was no doubt your coldness.
If I were Edward I would assume you
did not care for me at all.

EXT. JOHN AND FANNY'S TOWN HOUSE - BACK GARDEN - DAY

A tranquil afternoon...

INT. JOHN AND FANNY'S TOWN HOUSE - DRAWING ROOM - DAY

LUCY is sitting with FANNY, who is doing some pointless

basketwork. LUCY hands FANNY rushes.

LUCY
Poor Miss Marianne looked very badly
t'other day. When I think of her,
deserted and abandoned, it frightens
me to think I shall never marry.

FANNY
Nonsense. You will marry far better
than either of the Dashwood girls.

LUCY
How can that possibly be?

FANNY
You have ten times their sense and
looks.

LUCY
But I have no dowry.

FANNY
There are qualities which will always
make up for that, and you have them
in abundance. It would not surprise
me if you were to marry far and away
beyond your expectations.

LUCY
I wish it might be so. There is a
young man--
 96

FANNY
Ah ha! I am glad to hear of it. Is
he of good breeding and fortune?

LUCY
Oh both--but his family would
certainly oppose the match.

FANNY
Tush! They will allow it as soon as
they see you, my dear.

LUCY
It is a very great secret. I have
told no one in the world for fear of
discovery.

FANNY looks up, curious to know more.

FANNY
My dear, I am the soul of discretion.

LUCY
If I dared tell...

FANNY
I can assure you I am as silent as
the grave.

LUCY leans forward to whisper in FANNY's ear.

EXT. JOHN AND FANNY'S TOWN HOUSE - DAY

We hold a long shot of the house for a moment of silence.

Then from inside comes an almost inhumanly loud shriek.

FANNY (V.O.)
Viper in my bosom!

EXT. JOHN AND FANNY'S TOWN HOUSE - BACK GARDEN - DAY

FANNY is trying to drag LUCY out of the house. ROBERT and

JOHN are trying to reason with her. FANNY loses her grip and
falls backwards. LUCY flings herself into ROBERT's arms.
ROBERT falls over.

EXT. LONDON STREET - DAY

MRS JENNINGS is running as fast as her fat little legs will

carry her.

EXT. MRS JENNINGS'S HOUSE - BERKELEY STREET - DAY

MRS JENNINGS pants up the front steps.

 97

INT. MRS JENNINGS'S HOUSE - BEDROOM - DAY

ELINOR and MARIANNE are packing. Their mood is gloomy and

uncommunicative. MRS JENNINGS explodes into the room fighting
for breath.

MRS JENNINGS
Oh, my dears! What a commotion! Mr
Edward Ferrars--the very one I used
to joke you about, Miss Dashwood--
has been engaged these five years to
Lucy Steele!

MARIANNE lets out a gasp. She looks at ELINOR, who nods at

her in swift confirmation.

MRS JENNINGS
Poor Mr Ferrars! His mother, who by
all accounts is very proud, demanded
that he break the engagement on pain
of disinheritance. But he has refused
to break his promise to Lucy. He has
stood by her, good man, and is cut
off without a penny! She has settled
it all irrevocably upon Mr Robert.
But I cannot stop, I must go to Lucy.
Your sister-in-law scolded her like
any fury--drove her to hysterics.

She leaves the room, still rabbiting on. There is a silence.

MARIANNE
How long have you known?

ELINOR
Since the evening Mrs Jennings offered
to take us to London.

MARIANNE
Why did you not tell me?

ELINOR
Lucy told me in the strictest
confidence.

MARIANNE looks at her in complete incredulity.

ELINOR
I could not break my word.

Clearly, there is no arguing this point.

MARIANNE
But Edward loves you.

ELINOR
 98

He made me no promises. He tried to

tell me about Lucy.

MARIANNE
He cannot marry her.

ELINOR
Would you have him treat her even
worse than Willoughby has treated
you?

MARIANNE
No--but nor would I have him marry
where he does not love.

ELINOR tries hard to be controlled.

ELINOR
Edward made his promise a long time
ago, long before he met me. Though
he may... harbour some regret, I
believe he will be happy--in the
knowledge that he did his duty and
kept his word. After all--after all
that is bewitching in the idea of
one's happiness depending entirely
on one person, it is not always
possible. We must accept. Edward
will marry Lucy--and you and I will
go home.

MARIANNE
Always resignation and acceptance!
Always prudence and honour and duty!
Elinor, where is your heart?

ELINOR finally explodes. She turns upon MARIANNE almost

savagely.

ELINOR
What do you know of my heart? What
do you know of anything but your own
suffering? For weeks, Marianne, I
have had this pressing on me without
being at liberty to speak of it to a
single creature. It was forced upon
me by the very person whose prior
claims ruined all my hopes. I have
had to endure her exultation again
and again while knowing myself to be
divided from Edward forever. Believe
me, Marianne, had I not been bound
to silence I could have produced
proof enough of a broken heart even
for you.
 99

Complete silence. Then MARIANNE speaks in a whisper.

MARIANNE
Oh, Elinor!

MARIANNE bursts into sobs and flings her arms around ELINOR,
who, almost impatiently, tries to comfort her.

EXT. PALMER RESIDENCE - LONDON STREET - DAY

LUCY and MRS JENNINGS are on the doorstep. LUCY looks rather
lost and pathetic, with her little bundles, hastily packed.
The door opens and CHARLOTTE precedes the SERVANT, ushering
them in with shrill cries of sympathy.

COLONEL BRANDON (V.O.)

I have heard that your friend Mr
Ferrars has been entirely cast off
by his family for persevering in his
engagement to Miss Steele.

EXT. SQUARE IN FRONT OF MRS JENNINGS'S HOUSE - LONDON - DAY

ELINOR and BRANDON walk round the quiet square.

COLONEL BRANDON
Have I been rightly informed? Is it
so?

ELINOR is greatly taken aback by this unexpected query.

ELINOR
It is indeed so. Are you acquainted
with Mr Ferrars?

COLONEL BRANDON
No, we have never met. But I know
only too well the cruelty--the
impolitic cruelty of dividing two
young people long attached to one
another. Mrs Ferrars does not know
what she may drive her son to--

He pauses, frowning in remembrance. ELINOR waits in suspense.

COLONEL BRANDON
I have a proposal to make that should
enable him to marry Miss Steele
immediately. Since the gentleman is
so close a friend to your family,
perhaps you will be good enough to
mention it to him?

ELINOR is completely taken aback. She takes a moment to reply.

ELINOR
 100

Colonel, I am sure he would be only

too delighted to hear it from your
own lips.

COLONEL BRANDON
I think not. His behaviour has proved
him proud--in the best sense. I feel
certain this is the right course.

INT. MRS JENNINGS'S HOUSE - STUDY - DAY

ELINOR is waiting. The MAID announces EDWARD and he walks in

momentarily. They are alone for the first time in months and
for a moment, neither speaks.

ELINOR
Mr Ferrars.

EDWARD
Miss Dashwood.

ELINOR indicates a seat for him but neither sits.

ELINOR
Thank you for responding so promptly
to my message.

EDWARD
I was most grateful to receive it. I--
Miss Dashwood, God knows what you
must think of me...

ELINOR
Mr Ferrars--

He interrupts her, desperate to explain.

EDWARD
I have no right to speak, I know--

ELINOR has to stop him.

ELINOR
Mr Ferrars, I have good news. I think
you know of our friend Colonel
Brandon?

EDWARD looks completely bewildered.

EDWARD
Yes, I have heard his name.

ELINOR starts to speak rather faster than usual.

ELINOR
Colonel Brandon desires me to say
 101

that, understanding you wish to join

the clergy, he has great pleasure in
offering you the parish on his estate
at Delaford, now just vacant, in the
hope that it may enable you--and
Miss Steele--to marry.

EDWARD cannot at first take it in. ELINOR sits down.

EDWARD
Colonel Brandon?

ELINOR
Yes. He means it as testimony of his
concern for--for the cruel situation
in which you find yourselves.

Now EDWARD sits--in shock.

EDWARD
Colonel Brandon give me a parish?
Can it be possible?

ELINOR
The unkindness of your family has
made you astonished to find friendship
elsewhere.

EDWARD looks at ELINOR, his eyes full of growing

comprehension.

EDWARD
No. Not to find it in you. I cannot
be ignorant that to you--to your
goodness--I owe it all. I feel it. I
would express it if I could, but, as
you know, I am no orator.

ELINOR
You are very much mistaken. I assure
you that you owe it almost entirely
to your own merit--I have had no
hand in it.

But EDWARD clearly believes she has been instrumental in the

offer. He frowns slightly before speaking with rather an
effort.

EDWARD
Colonel Brandon must be a man of
great worth and respect ability.

ELINOR finds some relief in saying at least one thing that

she truly means.

ELINOR
 102

He is the kindest and best of men.

This makes EDWARD seem even more depressed. He sits silent

for a moment but then rouses himself to action.

EDWARD
May I enquire why the Colonel did
not tell me himself?

ELINOR
I think he felt it would be better
coming from... a friend.

EDWARD looks at ELINOR, his eyes full of sadness.

EDWARD
Your friendship has been the most
important of my life.

ELINOR
You will always have it.

EDWARD
Forgive me.

ELINOR
Mr Ferrars, you honour your promises--
that is more important than anything
else. I wish you--both--very happy.

They rise. She curtsies. He bows.

EDWARD
Goodbye, Miss Dashwood.

EDWARD leaves silently. ELINOR stands stock-still in the

middle of the room.

EXT. MRS JENNINGS'S HOUSE - DAY

The PALMERS' carriage stands outside the house. COLONEL

BRANDON helps MARIANNE in beside ELINOR before mounting his
horse to ride alongside. MRS JENNINGS waves goodbye from the
steps. The carriage moves off. MRS JENNINGS blows her nose,
looks up and down the street in search of gossip and goes
back indoors with a sigh.

INT. THE PALMERS' CARRIAGE - ON THE ROAD - DAY

MARIANNE is sitting back in her seat with her eyes closed.

She does not look well. MR PALMER is behind his newspaper.

CHARLOTTE
What a stroke of luck for Lucy and
Edward to find a parish so close to
Barton! You will all be able to meet
 103

very often. That will cheer you up,

Miss Marianne. I do declare I have
never disliked a person so much as I
do Mr Willoughby, for your sake.
Insufferable man! To think we can
see his insufferable house from the
top of our hill!

CLOSE on MARIANNE's eyes slowly opening.

CHARLOTTE
I shall ask Jackson to plant some
very tall trees.

MR PALMER
(from behind the paper)
You will do nothing of the sort.

EXT. THE PALMERS' CARRIAGE - OPEN ROAD - DAY

The carriage bowls along, with BRANDON riding next to it.

CHARLOTTE (V.O.)
I hear Miss Grey's bridal gown was
everything of the finest--made in
Paris, no less. I should have liked
to see it, although I dare say it
was a sorry affair, scalloped with
ruffles--but what do the French know
about fashion?

EXT. CLEVELAND - DRIVE - AFTERNOON

The carriage stands outside the PALMER residence, a

resplendent affair with a great deal of land. BRANDON is
helping MARIANNE and ELINOR out of the carriage.

CHARLOTTE (V.O.)
I am resolved never to mention Mr
Willoughby's name again, and
furthermore I shall tell everyone I
meet what a good-for nothing he is.

MR PALMER (V.O.)
Be quiet.

ELINOR and MARIANNE stand on the steps as the PALMERS debauch

from the carriage amid a welter of SERVANTS.

ELINOR
(sotto voce)
I do not think she drew breath from
the moment we left London. It is my
fault--I should have found some other
way of getting home.
 104

MARIANNE
There was no other way you said so
yourself.

ELINOR
We shall be home soon enough. Mamma
will comfort you, dearest.

MARIANNE
I am stiff from sitting so long.
Will you tell Charlotte that I am
going for a stroll? ELINOR glances
at the sky in concern.

ELINOR
I think it is going to rain.

MARIANNE
No, no, it will not rain.

ELINOR cannot help but smile at this return of the old

MARIANNE.

ELINOR
You always say that and then it always
does.

MARIANNE
I will keep to the garden, near the
house.

MARIANNE walks off. ELINOR watches her go anxiously.

INT. CLEVELAND - DRAWING ROOM - DAY

MRS BUNTING, a rather baleful NANNY, looks on as MR PALMER

holds up a screaming BABY in a frilly bonnet for everyone's
inspection.

CHARLOTTE
We are very proud of our little
Thomas, Colonel--and his papa has
such a way with him...

BRANDON flicks a glance at MR PALMER for whom holding a baby

comes as naturally as breathing underwater.

EXT. CLEVELAND - GARDEN - DAY

MARIANNE walks purposefully towards the garden wall, beyond

which lies a hill.

INT. CLEVELAND - DRAWING ROOM - DAY

ELINOR enters to find CHARLOTTE alone with the now hysterical

BABY THOMAS.
 105

CHARLOTTE
There you are, Miss Dashwood! Mr
Palmer and the Colonel have locked
themselves up in the billiard room.
Come and meet little Thomas. Where
is Miss Marianne?

ELINOR
She is taking a little air in the
garden.

CHARLOTTE
Oh, very good. That is the great
advantage of the countryside--all
the fresh air and... and all the
fresh air...

CHARLOTTE's conversational difficulties are drowned out by

her offspring.

EXT. CLEVELAND - GARDEN - DAY

MARIANNE comes to a gate in the wall and turns the handle.

It opens. She throws a glance back to the house and passes
through. There is a low rumble of thunder.

INT. CLEVELAND - DRAWING ROOM - DAY

BABY THOMAS is purple in the face but shows no signs of

quietening.

CHARLOTTE joggles him about inefficiently.

CHARLOTTE
(yelling)
He is the best child in the world--
he never cries unless he wants to
and then, Lord, there is no stopping
him.

EXT. THE HILL - DAY

MARIANNE, calm and determined, walks towards the top of the

hill. The wind whips and plucks at her hair and skirts.

INT. CLEVELAND - DRAWING ROOM - DAY

ELINOR, traumatised by her new acquaintance with the shrieking

BABY THOMAS, goes to look out of the window. She frowns.

EXT. CLEVELAND - GARDEN - DAY

ELINOR's POV. MARIANNE is nowhere in sight. Storm clouds

have gathered on the bill.
 106

INT. CLEVELAND - DRAWING ROOM - DAY

ELINOR turns from the window. BABY THOMAS stops crying for
two seconds.

ELINOR
I cannot see Marianne.

There is a crack of thunder. BABY THOMAS starts again.

EXT. THE HILL - DAY

Rain has started to pour down. MARIANNE walks on regardless.

INT. CLEVELAND - DRAWING ROOM - DAY

CHARLOTTE shouts over BABY THOMAS to ELINOR.

CHARLOTTE
She has probably taken shelter in
one of the greenhouses!

EXT. THE HILL - DAY

MARIANNE has reached the top. Soaked to the skin, she stands
with the storm raging around her, staring at the spires of
Combe Magna, the place that would have been her home. Rain
streaks her face and the wind whips her hair about her.
Through frozen lips she whispers:

MARIANNE
Love is not love Which alters when
it alteration finds Or bends with
the remover to remove: 0, no! it is
an ever-fixed mark That looks on
tempests and is never shaken...

EXT. CLEVELAND - GREENHOUSES - DAY

BRANDON is looking for MARIANNE. He enters a greenhouse.

COLONEL BRANDON
Marianne!

EXT. THE HILL - DAY

MARIANNE stares at Combe Magna, a strange smile playing about

her lips. Then she calls to WILLOUGHBY as though he were
near. The effect is eerie, unworldly.

MARIANNE
Willoughby... Willoughby...

INT. CLEVELAND - DRAWING ROOM - DAY

CHARLOTTE, MR PALMER and ELINOR are waiting anxiously. BABY

 107

THOMAS has been removed. ELINOR is staring out of the window.

CHARLOTTE
One thing is certain--she will be
wet through when she returns.

MR PALMER
Thank you for pointing that out, my
dear. Do not worry, Miss Dashwood--
Brandon will find her. I think we
can all guess where she went.

EXT. THE HILL - DAY

BRANDON runs up the hillside as though the devil were at his

heels.

INT. CLEVELAND - DRAWING ROOM - DAY

CHARLOTTE is handing ELINOR a cup of tea. ELINOR turns back

to look out of the window. She freezes.

EXT. CLEVELAND - GARDEN - DAY

ELINOR's POV of BRANDON walking up to the house with MARIANNE

cradled in his arms. It is like seeing Willoughby's ghost.

INT. CLEVELAND - HALL - DAY

Everyone rushes out of the drawing room as the COLONEL enters

with MARIANNE. He is exhausted and soaked. MARIANNE is dumb
with cold and fatigue.

COLONEL BRANDON
She is not hurt--but we must get her
warm!

ELINOR and MR PALMER take MARIANNE from BRANDON and go

upstairs, with CHARLOTTE in pursuit.

EXT. CLEVELAND - NIGHT - RAIN

The great house sits in darkness. A sense of foreboding.

INT. CLEVELAND - UPSTAIRS CORRIDOR - NIGHT

ELINOR is in her nightgown, knocking at a door. MR PALMER

answers in his nightshirt, astonished to have been summoned
out of bed.

ELINOR
I think Marianne may need a doctor.

INT. CLEVELAND - BREAKFAST ROOM - DAY

MR PALMER and CHARLOTTE are sitting at the breakfast table.

 108

BRANDON is pacing. The rain has stopped.

CHARLOTTE
You'll wear yourself out, Colonel!
Do not worry! A day or two in bed
will soon set her to rights!

MR PALMER
You can rely upon Harris, Colonel. I
have never found a better physician.

Enter ELINOR with DR HARRIS.

COLONEL BRANDON
(urgent)
What is your diagnosis?

DR HARRIS
It is an infectious fever that has
taken far more serious hold than I
would have expected in one so young.
I would recommend the hasty removal
of your child, Mr Palmer--

CHARLOTTE runs out of the room screaming.

CHARLOTTE
Mrs Bunting! Mrs Bunting!

EXT. CLEVELAND - FRONT STEPS - DAY

CHARLOTTE is getting into their carriage with MRS BUNTING

and BABY THOMAS. MR PALMER is on the steps with ELINOR. He
takes her hand and looks at her with real sympathy.

MR PALMER
My dear Miss Dashwood, I am more
sorry than I can say. If you would
prefer me to stay I am at your
service.

ELINOR is touched to find this warm heart beneath his frosty

exterior.

ELINOR
Mr Palmer, that is very kind. But
Colonel Brandon and Dr Harris will
look after us. Thank you for
everything you have done.

MR PALMER nods, presses her hand, and walks down the steps
to the carriage.

INT. CLEVELAND - DRAWING ROOM - DAY

BRANDON sits head in hands. His ghosts have come to haunt

 109

him.

INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - DAY

MARIANNE is tossing and turning in the bed. DR HARRIS is

trying to take her pulse. He looks up at ELINOR, who is
watching anxiously.

DR HARRIS
She is not doing as well as I would
like.

INT. CLEVELAND - UPSTAIRS CORRIDOR - DAY

ELINOR exits the bedroom to find BRANDON outside. She jumps.

COLONEL BRANDON
What can I do?

ELINOR
Colonel, you have done so much
already.

COLONEL BRANDON
Give me an occupation, Miss Dashwood,
or I shall run mad. He is dangerously
quiet.

ELINOR
She would be easier if her mother
were here.

COLONEL BRANDON
Of course. Barton is but eight hours
away. If I make no stop, you may see
us early tomorrow morning.

He takes ELINOR's hand and kisses it.

COLONEL BRANDON
In your hands I know she will be
safe.

EXT. CLEVELAND - DRIVE - EVE

BRANDON mounts his horse, turns to look at the house for a

moment, and then spurs it violently forward.

INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - EVE

ELINOR is by the window, having watched BRANDON's departure.

DR HARRIS is by MARIANNE's side. He turns to ELINOR.

DR HARRIS
Double the number of drops and I
will return as soon as I can.
 110

EXT. CLEVELAND - NIGHT

The house stands in virtual darkness with only a dim light

issuing from one of the upper rooms.

EXT. OPEN ROAD - NIGHT

BRANDON riding fast, his cape billowing out behind him.

INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - NIGHT

MARIANNE's eyes glitter with the fever. ELINOR wipes her

brow. Suddenly she speaks.

MARIANNE
Who is that?

She is looking at the end of the bed.

MARIANNE
Look, look, Elinor.

ELINOR
There is no one there, dearest.

MARIANNE
It is Papa. Papa has come.

ELINOR looks fearfully towards the end of the bed. MARIANNE

tries to smile with her cracked lips.

MARIANNE
Dearest Papa!

The dead are coming for the dying.

DISSOLVE:

INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - LATER

ELINOR, her eyes red from watching, wipes MARIANNE's temples.

DR HARRIS takes her pulse and looks at ELINOR anxiously. His
silence is worse than any utterance.

DISSOLVE:

INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - LATER

The room is very still. MARIANNE is pale as wax. DR HARRIS

puts on his coat. ELINOR looks at him fearfully.

DR HARRIS
I must fetch more laudanum. I cannot
pretend, Miss Dashwood, that your
sister's condition is not very
 111

serious. You must prepare yourself.

I will return very shortly.

He leaves the room.

DISSOLVE:

INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - LATER

MARIANNE lies in the grip of her fever. ELINOR sits watching

her. Slowly she rises and walks to the bed. When she speaks,
her tone is very practical.

ELINOR
Marianne, Marianne, please try--

Suddenly, almost unconsciously, she starts to heave with dry

sobs, wrenched out of her, full of anguish and heartbreak
and all the more painful for being tearless.

ELINOR
Marianne, please try--I cannot--I
cannot do without you. Oh, please, I
have tried to bear everything else--
I will try--but please, dearest,
beloved Marianne, do not leave me
alone.

She falls to her knees by the bed, gulping for breath, taking
MARIANNE's hand and kissing it again and again.

DISSOLVE:

EXT. CLEVELAND - GARDENS - DAWN

A shimmer of light appears on the rim of the horizon.

Somewhere a lark breaks into clear untroubled song.

INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - MORNING

DR HARRIS sits slumped in a chair. MARIANNE lies motionless.

ELINOR rises with difficulty from the bedside and goes to
the window. She is white as paper. The lark sings. Then,
from behind, comes the faintest of whispers.

MARIANNE (V.O.)
Elinor?

ELINOR turns with a cry. DR HARRIS springs from his seat and
examines MARIANNE. He then turns to ELINOR with a smile of
relief and nods. At that moment the sound of carriage wheels
is heard on the gravel.

ELINOR
My mother!
 112

EXT. CLEVELAND - FRONT STEPS - MORNING

BRANDON helps MRS DASHWOOD, who is weak with exhaustion and

distress, out of the carriage.

INT. CLEVELAND - STAIRCASE - MORNING

ELINOR hurls herself down the stairs. She reaches the door
just as BRANDON and MRS DASHWOOD enter and practically swoons
into her mother's arms.

ELINOR
Mamma! She is out of danger!

INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - MORNING

CLOSE on MARIANNE's face as MRS DASHWOOD kisses her.

MRS DASHWOOD
There, there, my love, my Marianne.

MARIANNE opens her eyes and smiles at her mother. MRS DASHWOOD
takes her gently into her arms. MARIANNE suddenly looks
anxious. She is too weak to move her head. She whispers with
urgent effort.

MARIANNE
Where is Elinor?

ELINOR
I am here, dearest, I am here.

MARIANNE looks at her with deep relief. Behind the DASHWOODS,

BRANDON stands at the door, unwilling to intrude on this
intimacy. He wipes his eyes and turns away. MARIANNE sees
and whispers to him.

MARIANNE
Colonel Brandon.

BRANDON turns back, his eyes full of tears. MARIANNE looks

at him for a moment. Then, very quietly:

MARIANNE
Thank you.

EXT. BARTON COTTAGE - GARDEN AND SURROUNDINGS - DAY

The cottage nestles in the first buds of spring. A piece of

rope hangs down from the branches of a tree in the garden.
It starts to wave about wildly and we see MARGARET emerging
and climbing down. She has built herself a new tree-house.

COLONEL BRANDON (V.O.)

What though the sea with waves
continuall Doe eate the earth, it is
 113

no more at all.

INT. BARTON COTTAGE - PARLOUR - DAY

MARIANNE is on the sofa by the window. She is pale,

convalescent and calm. Different somehow. She listens
intently
as BRANDON reads her the poem.

COLONEL BRANDON
Nor is the earth the lesse, or loseth
aught. For whatsoever from one place
doth fall, Is with the tide unto
another brought...

We move back to find MRS DASHWOOD and ELINOR at the other

end of the room, sewing peacefully.

MRS. DASHWOOD
He certainly is nor so dashing as
Willoughby but he has a far more
pleasing countenance. There was always
a something, if you remember, in
Willoughby's eyes at times which I
did not like.

ELINOR listens patiently as her mother rewrites history. We

cut back to BRANDON as he finishes reading.

COLONEL BRANDON
'For there is nothing lost, but may
be found, if sought...

He looks up at MARIANNE. A soul-breathing glance. She smiles

as he closes the book.

MARIANNE
Shall we continue tomorrow?

COLONEL BRANDON
No--for I must away.

MARIANNE
Away? Where?

COLONEL BRANDON
(teasing)
That I cannot tell you. It is a
secret.

He rises to leave.

MARIANNE
(impulsive)
But you will not stay away long?
 114

CLOSE on BRANDON's reaction.

EXT. FIELDS NEAR BARTON COTTAGE - DAY

ELINOR and MARIANNE are out on a walk. They go very slowly,

MARIANNE leaning on ELINOR's arm. Their mood is loving,
companion able.

EXT. DOWNS NEAR BARTON COTTAGE - DAY

ELINOR and MARIANNE walk on. Suddenly, MARIANNE stops.

MARIANNE
There.

She indicates a spot on the ground but ELINOR can see nothing
and is momentarily alarmed. MARIANNE gazes at the ground and
breathes in deeply.

MARIANNE
There I fell, and there I first saw
Willoughby.

ELINOR
Poor Willoughby. He will always regret
you.

MARIANNE
But does it follow that, had he chosen
me, he would have been content?

ELINOR looks at MARIANNE, surprised.

MARIANNE
He would have had a wife he loved
but no money--and might soon have
learned to rank the demands of his
pocket-book far above the demands of
his heart.

ELINOR regards MARIANNE admiringly. MARIANNE smiles sadly.

MARIANNE
If his present regrets are half as
painful as mine, he will suffer
enough.

ELINOR
Do you compare your conduct with
his?

MARIANNE
No. I compare it with what it ought
to have been. I compare it with yours.

ELINOR
 115

Our situations were very different.

MARIANNE
My illness has made me consider the
past. I saw in my own behaviour
nothing but imprudence--and worse. I
was insolent and unjust to everyone--

ELINOR tries to stem the flow but MARIANNE continues.

MARIANNE
--but you--you I wronged above all.
Only I knew your heart and its sorrows
but even then I was never a grain
more compassionate. I brought my
illness upon myself--I wanted to
destroy myself. And had I succeeded,
what misery should I have caused
you?

ELINOR embraces her. They stand with their arms round one
another in silence for a moment. Then MARIANNE breaks away
and speaks with great good humour and energy.

MARIANNE
I shall mend my ways! I shall no
longer worry others nor torture
myself. I am determined to enter on
a course of serious study---Colonel
Brandon has promised me the run of
his library and I shall read at least
six hours a day. By the end of the
year I expect to have improved my
learning a very great deal.

EXT. ROAD NEAR BARTON COTTAGE - DAY

THOMAS is sitting on the back of a local wagon, holding a

basket of food.

He jumps off near the cottage and waves a cheery farewell to

the DRIVER.

INT. BARTON COTTAGE - PARLOUR - DAY

CLOSE on the accounts book, covered in blots and crossed-out

sums. Pull up to reveal MARIANNE labouring over it. Her
sickness has left her slightly short-sighted and she uses a
pince-nez that makes her look like an owl.

ELINOR is sewing and MRS DASHWOOD is snoozing. MARGARET goes

up and looks over MARIANNE's shoulder. She frowns at the
spider's web of ink.

MARGARET
You'll go blind if you're not careful.
 116

BETSY brings in coals for the fire. MRS DASHWOOD rouses

herself.

MRS DASHWOOD
Is Thomas back from Exeter, Betsy?

BETSY
Yes, ma'am--he brung back two lovely
fillets for you.

MRS DASHWOOD looks nervously at ELINOR like a child who has

been caught out.

MRS DASHWOOD
Beef is far less expensive in Exeter,
and anyway they are for Marianne.

ELINOR laughs and rolls her eyes to heaven. BETSY turns on

her way out to remark:

BETSY
Sixpence a piece, Miss Dashwood. Oh,
and he says Mr Ferrars is married,
but I suppose you know that, ma'am.

There is a stunned silence. Everyone looks at ELINOR.

MRS DASHWOOD
Fetch Thomas to us, Betsy.

BETSY leaves. They all sit very still. MARGARET is about to

talk to ELINOR about it but MARIANNE stops her. THOMAS enters.

THOMAS
Beg pardon, Miss Dashwood, but they
was the cheapest in the market--

MRS DASHWOOD
It was a very good price, Thomas,
well done. Would you be so kind as
to build up the fire a little?

THOMAS
(relieved)
Yes, ma'am.

There is a pause.

MRS DASHWOOD
Who told you that Mr Ferrars was
married, Thomas?

THOMAS builds up the fire as he answers. He tells the story

with pleasure.
 117

THOMAS
I seen him myself, ma'am, and his
lady too, Miss Lucy Steele as was--
they were stopping in a chaise at
the New London Inn. I happened to
look up as I passed the chaise and I
see it was Miss Steele. So I took
off my hat and she inquired after
you, ma'am, and all the young ladies,
especially Miss Dashwood, and bid me
I should give you her and Mr Ferrars's
best compliments and service and how
they'd be sure to send you a piece
of the cake.

MRS DASHWOOD
Was Mr Ferrars in the carriage with
her?

THOMAS
Yes, ma'am--I just seen him leaning
back in it, but he did not look up.

ELINOR screws up her courage.

ELINOR
Did--

But she cannot continue. MARIANNE glances at her

compassionately and takes over.

MARIANNE
Did Mrs Ferrars seem well?

THOMAS
Yes, Miss Marianne--she said how she
was vastly contented and, since she
was always a very affable young lady,
I made free to wish her joy.

MRS DASHWOOD
Thank you, Thomas.

He nods and leaves, confused by the silent atmosphere. ELINOR

sits for a moment, then gets up and walks out.

EXT. BARTON COTTAGE - GARDEN - EVE

ELINOR is standing by the gate, looking out. MRS DASHWOOD

comes down the path to join her. She links arms with ELINOR
and they stand in silence for a beat.

MRS DASHWOOD
Your father once told me not to allow
you to neglect yourself. Now I find
that it is I who have neglected you
 118

most.

ELINOR
No, Mamma.

MRS DASHWOOD
Yes, I have. We all have. Marianne
is right.

ELINOR
I am very good at hiding.

MRS DASHWOOD
Then we must observe you more closely.

A pause.

ELINOR
Mamma?

MRS DASHWOOD
Yes, my darling?

ELINOR
There is a painful difference between
the expectation of an unpleasant
event and its final certainty.

MRS DASHWOOD squeezes ELINOR's arm tightly.

EXT. OPEN ROAD NEAR BARTON - DAY

A horse and cart are jogging along. The cart contains a large
object tied down and covered with canvas. The DRIVER whistles
tunelessly.

INT. BARTON COTTAGE - KITCHEN - DAY

MARGARET is standing on the kitchen table while ELINOR and

MARIANNE pin a piece of material around the bottom of her
skirt to lengthen it.

Suddenly there is a commotion upstairs.

MRS DASHWOOD (V.O.)

Marianne! Marianne! Come and see
what is coming!

Everyone runs out of the kitchen.

EXT. BARTON COTTAGE - GARDEN - DAY

THOMAS and the CARTER are carrying a small piano up the path.

INT. BARTON COTTAGE - PARLOUR - DAY

 119

They carry the piano into the parlour and to the DASHWOODS'
joyful astonishment it fits perfectly. MRS DASHWOOD reads
out the letter that has accompanied it.

MRS DASHWOOD
'At last I have found a small enough
instrument to fir the parlour. I
expect to follow it in a day or two,
by which time I expect you to have
learned the enclosed. Your devoted
friend, Christopher Brandon.'

MRS DASHWOOD hands MARIANNE the letter and a broadsheet song.

MARGARET
He must like you very much, Marianne.

MARIANNE
It is not just for me! It is for all
of us.

All the same, she looks conscious of the truth.

EXT. BARTON COTTAGE - GARDEN - DAY

MARGARET is up her tree. ELINOR is pulling weeds. MRS DASHWOOD

is sitting on a stool working on MARGARET's dress and
listening to the strains of the new song which MARIANNE is
singing in the cottage. All of a sudden, MRS DASHWOOD rises,
shielding her eyes with her hand. She walks down to the gate,
looking out.

MRS DASHWOOD
Here is Colonel Brandon! Marianne!

The piano stops. MARIANNE comes out and they all gather at
the gate to watch for the rider.

EXT. OPEN COUNTRY - DAY

Their POV of a HORSEMAN in the distance.

EXT. BARTON COTTAGE - GARDEN GATE - DAY

ELINOR
I do not think it is the Colonel.

MRS DASHWOOD
It must be. He said he would arrive
today. You must play him the new
song, Marianne.

Suddenly there is a yell from MARGARET's tree.

MARGARET
Edward!
 120

MARGARET practically throws herself out of the tree onto the

grass.

MARGARET
It is Edward!

The women look at each other in complete consternation.

MRS DASHWOOD
Calm. We must be calm.

INT. BARTON COTTAGE - PARLOUR - DAY

Tense silence reigns. Everyone tries to busy themselves.

BETSY enters.

BETSY
Mr Ferrars for you, ma'am.

EDWARD follows her in, looking white and agitated.

MRS DASHWOOD
(rising)
Edward! What a pleasure to see you.

EDWARD
Mrs Dashwood. Miss Marianne. Margaret.
Miss Dashwood. I hope I find you all
well.

He bows formally to each of them, lingering on ELINOR, who

is looking firmly at her lap. He looks anxious.

MARIANNE
Thank you, Edward, we are all very
well.

There is a pause while they all search for an appropriate

remark. Finally MARGARET decides to have a go at polite
conversation.

MARGARET
We have been enjoying very fine
weather.

MARIANNE looks at her incredulously.

MARGARET
Well, we have.

EDWARD
I am glad of it. The... the roads
were very dry.

MRS DASHWOOD decides to bite the bullet.

 121

MRS DASHWOOD
(giving him her hand)
May I wish you great joy, Edward.

He takes her hand somewhat confusedly and accepts her offer

of a seat. There is an awful silence. MARIANNE tries to help.

MARIANNE
I hope you have left Mrs Ferrars
well?

EDWARD
Tolerably, thank you.

There is another bone-crunching pause.

EDWARD
I--But EDWARD cannot seem to find
any words.

MRS DASHWOOD
Is Mrs Ferrars at the new parish?

EDWARD looks extremely confused.

EDWARD
No--my mother is in town.

He plucks up the courage to look at ELINOR again and is

evidently not much comforted by what he sees.

MRS DASHWOOD
I meant to enquire after Mrs Edward
Ferrars.

EDWARD colours. He hesitates.

EDWARD
Then you have not heard--the news--I
think you mean my brother--you mean
Mrs Robert Ferrars.

They all stare at him in shock.

MRS DASHWOOD
Mrs Robert Ferrars?

ELINOR has frozen. EDWARD rises and goes to the window.

EDWARD
Yes. I received a letter from Miss
Steele--or Mrs Ferrars, I should say--
communicating the... the transfer of
her affections to my brother Robert.
They were much thrown together in
 122

London, I believe, and... and in

view of the change in my
circumstances, I felt it only fair
that Miss Steele be released from
our engagement. At any rate, they
were married last week and are now
in Plymouth.

ELINOR rises suddenly, EDWARD turns and they stand looking

at one another.

ELINOR
Then you--are not married.

EDWARD
No.

ELINOR bursts into tears. The shock of this emotional

explosion stuns everyone for a second and then MARIANNE makes
an executive decision. Wordlessly, she takes MARGARET's hand
and leads her and MRS DASHWOOD out of the room.

EXT. BARTON COTTAGE - GARDEN - DAY

The three DASHWOODS come into the garden, still holding hands.

INT. BARTON COTTAGE - PARLOUR - DAY

ELINOR cannot stop crying. EDWARD comes forward, very slowly.

EDWARD
Elinor! I met Lucy when I was very
young. Had I had an active profession,
I should never have felt such an
idle, foolish inclination. At Norland
my behaviour was very wrong. But I
convinced myself you felt only
friendship for me and it was my heart
alone that I was risking. I have
come with no expectations. Only to
profess, now that I am at liberty to
do so, that my heart is and always
will be yours.

ELINOR looks at him, her face streaked with tears of released

emotion, of pain and of happiness.

EXT. BARTON COTTAGE - GARDEN

MARIANNE and MRS DASHWOOD are stamping about in the garden

trying to keep warm. MARGARET has climbed into her tree-house.
The branches rustle.

MARGARET
He's sitting next to her!
 123

MRS DASHWOOD/MARIANNE
Margaret, come down!/Is he?

MRS DASHWOOD
(scolding)
Margaret! Will you stop--

MARIANNE
What's happening now?

MRS DASHWOOD
Marianne!

MARGARET (V.O.)
He's kneeling down!

MRS DASHWOOD can't help herself.

MRS DASHWOOD
Oh! Is he? Oh!

She and MARIANNE look at each other joyfully.

EXT. DOWNS NEAR BARTON - DAY

The figures of EDWARD and ELINOR can be seen walking, in

deep conversation.

EXT. PATH NEAR BARTON COTTAGE - DUSK

Later. The lovers walk slowly, their heads almost touching,

their words low and intimate.

ELINOR
Your mother, I suppose, will hardly
be less angry with Robert for marrying
Lucy.

EDWARD
The more so since she settled the
money upon him so irrevocably--

ELINOR
No doubt because she had run out
of sons to disinherit.

EDWARD
Her family fluctuates at an alarming
rate. Then, in London, when you told
me of the Colonel's offer, I became
convinced that you wanted me to marry
Lucy and that--well, that you and
Colonel Brandon...

ELINOR
Me and Colonel Brandon!
 124

EDWARD
I shall not forget attempting to
thank him for making it possible for
me to marry the woman I did not love
while convinced he had designs upon
the woman I did--do--love.

EDWARD stops walking. He looks at ELINOR and realises he can

stand it no longer.

EDWARD
Would you--can you--excuse me--

He takes her face in his hands and kisses her.

 125

MUHAMMADIYAH UNIVERSITY OF PURWOREJO

FACULTY OF TEACHER TRAINING AND EDUCATIONAL SCIENCES

Address: K.H.A Dahlan Street No. 3 Telp./ Fax (0275)321494
PURWOREJO 54111

THESIS CONSULTATION CARD

Name : Suci Lestari
Student Number : 08.212.0200
Department : English Department
Faculty : Faculty of Teacher Training and Educational Sciences
Title : The Analysis of Moral Values in The Film Entitled “ Sense
and Sensibility “ adapted from Jane Austen‟s Novel and Its
Application in English Language Teaching
Consultant : Drs. Soetrisman, M. Sc.

Signature
Date Material Result
Researcher Consultant
04-04-2012 Title Revised

25-04-2012 Chapter I Revised

02-05-2012 Chapter I Accepted

21-05-2012 Chapter II Revised

Chapter III Revised
28-05-2012 Chapter II, III Accepted

18-06-2012 Chapter IV Revised

25-06-2012 Chapter IV Revised

Chapter IV Accepted
02-07-2012
Chapter V Revised
09-07-2012 Chapter I, II, III, IV, V, Revised

Abstract, Approval, Revised

13/07/2012
Bibliography, Appendices
Chapter I,II,III,IV,V, Accepted
19-07-2012 Abstract, Approval Accepted
Bibliography, Appendices
The Consultant

Drs.Soetrisman. M.Sc