It’s easy to see how this adaptation of Jane Austen’s earliest work, set in the 1800s, had most of its passion seen as ‘forbidden’. Even so, Sense and Sensibility has some of the most evocative – and melodramatic – depictions of romance. Take for instance, the growing companionship between Edward Ferrars (Hugh Grant) and Elinor Dashwood (Emma Thomson). The two share a deep affection for one another, affection that Elinor hopes will turn into something more. And so when Elinor happens to meet Lucy Steele who claims to be Edawards’s fiance, she is heartbroken. This unrequited passion culminates in a scene in which Edward visits Elinor’s house to tell her that Lucy had decided to marry his brother (who now has a fortune to his name). Elinor’s face erupts in relief and anger, the time she had spent yearning for him finally finding release. Elinor’s sister Marianne shares a similar, if not more arduous, passion for the charming John Willoughby. Their romance gets a fairytale beginning – her hurting her ankle in the rain, him carrying her back home – only to end with both lovers in different marriages. Willoughby, running away from heinous sins and a penniless future, abandons Marianne despite loving her. Marianne, knowing his true nature, still walks through torrential rain at the cost of her own life, just to be able to see him.