Hi everyone, just a quick review today. My wife and I watched the latest screen adaption of Jane Austen’s Persuasion, and honestly, it was pretty darn good.
For those who may not be familiar with this timeless romance, Persuasion follows the trails of Anna Elliot, who is persuaded by her well-meaning godmother to break off her romance with the penniless sailor Frederick Wentworth. Anne is heartbroken by the decision, but after eight painful years the now-Captain Wentworth returns. What follows is a tale of quiet pains, uncertain decisions, and hilariously excruciating family members.
This latest adaption is directed by Carrie Cracknell, who gives the classic tale something of a modern spin. Anne Elliot, played by Dakota Johnson, is a far less refined and self-assured heroine than say, Elizabeth Bennett, but I found her to be surprisingly endearing. I’m not usually a fan of breaking the fourth wall (unless it’s Deadpool), but in this case it was an effective way to reveal character and sketch out the main relationships. More importantly, this was an effective way to demonstrate how trapped Anna Elliot is by her social circumstances – the audience becoming the secret confidante of the lovelorn young woman.
I understand that the film was heavily criticised for this approach, and I don’t want to antagonise any dedicated Austen fans. I can see that taking a modern approach to such a beloved book was a risk, but my understanding is that the core of the character, her longing and regret, have been respected. In any case I was pleasantly surprised by Dakota Fanning’s performance.
The Elliot family, including Richard E Grant as the vain father, Yolanda Kettle as the entitled older sister and Mia McKenna-Bruce as the bratty, selfish younger sister, are awful. Wonderfully awful. A real standout for me was the love rival, William Elliot, played by Crazy Rich Asians star Henry Golding. Many villains these days are written as subtle, nuanced, morally ambiguous anti-heroes. Henry Golding was obviously having the time of his life as a joyfully candid bastard who is out for all he can get.
A standout mention here goes to the cinematography, beautifully realised by Joe Anderson. There were moments in this film that felt like a Victorian-era painting. The beach scene between Wentworth and Anne where they are both of the verge of breaking down and confessing to each other was mesmerising.
So, back to D-grade cult movie classics next week, promise. I’m thinking of 1983’s Krull. Hope to see you then!
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