 Gender has been seen as another major theme of the film, often intersecting with class. Penny Gay observed that Elinor's early dialogue with Edward about "feel [ing] idle and useless ... [with] no hope whatsoever of any occupation" reflected Thompson's background as a "middle class, Cambridge-educated feminist." Conversely, Dole wrote that Thompson's version of Elinor "has a surprising anti-feminist element to it," as she appears more dependent on men than the original character; the film presents her as repressed, resulting in her emotional breakdown with Edward. Linda Troost opined that Lee's production prominently features "radical feminist and economic issues" while "paradoxically endorsing the conservative concept of marriage as a woman's goal in life." Despite this "mixed political agenda," Troost believed that the film's faithfulness to the traditional heritage film genre is evident through its use of locations, costumes, and attention to details, all of which also emphasize class and status. Gay and Julianne Pidduck stated that gender differences are expressed by showing the female characters indoors, while their male counterparts are depicted outside confidently moving throughout the countryside. Nora Stovel observed that Thompson "emphasises Austen ’ s feminist satire on Regency gender economics," drawing attention not only to the financial plight of the Dashwoods but also to eighteenth-century women in general.
