Persuasion

source: Persuasion

Moviecut—Persuasion

I prefer this version of Persuasion to the 1995 Amanda Root/Ciaran Hinds one. To respond to the previous comment, I agree that the hand-held camera at the beginning was dizzying. I thoroughly enjoyed the numerous close-ups on both Sally Hawkins' and Rupert Penry-Jones' faces. Anne Elliot and Frederick Wentworth are characters with rich inner lives. I felt that those feelings/thoughts were amply conveyed in their faces. As far as being a consummate Jane Austen leading man, I think that Rupert Penry-Jones' Captain Wentworth should be thought to rival the Fitzwilliam Darcy of Colin Firth in 1995. I believe that Anne's cousin, Mr. Elliot, is meant to be more charismatic than Captain Wentworth. Elliot is a chameleon, whereas Wentworth is more reserved. I agree that the chemistry between Amanda Root and Ciaran Hinds is better, but only just. Sally Hawkins and Rupert Penry-Jones came across as younger, so perhaps the history they convey is a simpler one. I prefer Corin Redgrave's playing of Sir Walter Elliot in the 1995 version. It is delightfully foppish. I believe that 1995 is a better film, but I prefer 2007 for the depth of performance I get from the two main characters, Sally Hawkins as Anne Elliot and Rupert Penry-Jones as Captain Frederick Wentworth.

I must say that I absolutely love this film. Unfortunately I have to disagree with most of the critics by saying that here was so much chemistry between Anne and Wentworth (in my opinion anyway). I like this version a lot better than the one from 1995. Anne appeared lovely and gentle and I thought that Captain Wentworth was not only acting wonderfully, but he is also very handsome (in contradiction with the actor in the BBC film). I think he depicted a man truly in love, but struggling with his mixed feelings towards the object of his affection. I can seriously not think of anything negative to say about this production. I find it a lot less dreary than the 1995 version. This one kept me interested all the time and I could not wait for the next shot of Anne and Wentworth together. Further more I think the camera work is great. I love the shots and the close ups of Anne with the beautiful piano music playing in the back. And I also loved the last scene, which I find very beautiful. A lovely climax. My only regret is that I can compare neither of these two versions with the book, for I have not yet read it. When asked, I will definitely say that I like the 2007 version much better than the one from 1995.

I have no idea why they made this version of "Persuasion" when they already had that fine mini-series with Amanda Root and Ciaran Hinds. I suppose that they wanted to make a feature-length version, but of course a lot had to be deleted; alas, what ended up on the cutting-room floor was all the lovely wit and humour, leaving a film that was mere melodrama rather than an amusing exposition of English country manners and mores. Also, the characters were shallow and uninteresting. They had poor Anne chasing up and down the streets after Captain Wentworth like a silly modern adolescent (and if you happen to be a silly modern adolescent reading this, let me tell you: running after a male like a female in heat is NOT cool). That is something a well-bred woman of the Napoleonic era would never have done, and certainly not this level-headed heroine. Some have said they found this antic laughable; my reaction was not laughter, but outrage. The very idea of such a corruption of an Austen work is beneath contempt. It was ghastly.

Why in the world do people keep making movies that they SAY are of Jane Austen's novels? This might be the worst one I've ever seen, although it's hard to beat the horribleness of Keira Knightley's Pride and Prejudice. This Persuasion was a mess. The characters flew in and out at lightning speed - there was no sense of their personalities at all. The focus was so intently on Anne's face and her running around that there was little time left over for actual plot. The writers moved scenes around and, even worse, CHANGED scenes - why are writers so arrogant that they think they can improve on Jane Austen? Have THEY been read through several centuries? Wentworth was a block of wood, with none of the charm he has in the book. Mary's stuttering speech was annoying. The older sister was supposed to be handsome, but was a hag. The scenes were choppy and many were ridiculous - Anne set her nephew's broken collarbone?! She races around Bath after a man? That would NEVER have happened in that time period. Two unmarried people kiss on a public street? I could go on and on about the things that made this movie bad. Why don't they just write a whole new movie and not try to glom onto Austen's popularity by pretending it's based on her book? Did they even READ the book, or just a Cliff's notes for it? The only good thing in the entire movie was Anthony Head having fun (although a bit over the top) as the narcissistic dad; he always plays a good guy, so it was nice to see him in this different role. Otherwise, basically, another horror show in the pantheon of horrible movies "based on" Jane Austen books. The only ones worth seeing are Emma Thompson's Sense and Sensibility and Ciarin Hinds' Persuasion. The rest are an abomination.

My God, was this the "Run, Lola, Run" adaptation of Persuasion? It was horrible. Bad enough that the "screenwriter" (and I use the term very loosely) cut and pasted dialogue from one character onto another, often completely out of context and to rush the story along: but Anne Elliott running from location to location in pursuit of Wentworth near the end of the piece was an abomination! Austen must be spinning in her grave. No respectable young woman would have acted in such an atrocious fashion. And the actress that played Mary? Horrors. Needless to say, if the rest of the Austen remakes are this bad, they will be turning off a new generation of watchers. If you want to see an impeccable version of this (otherwise) wonderful novel, get the 1995 Roger Michell directed version starring Amanda Root (whose expressions alone can speak volumes) and Ciaran Hinds. It is superb.

This current adaptation of Austen's mature novel is very endearing. Rupert Penry-Jones'adept utilization of facial expressions reveal a man who is deeply wounded and angry with good reason, yet subconsciously conflicted. His Captain Wentworth doesn't know if, and how he should proceed. He deftly portrays a spurned lover that is compelled to look back in spite of himself. Sally Hawkins expertly portrays a gentle introvert who hides a long held affection in some compartment of herself. She functions well enough in life, but she does not ,and cannot flourish, and wonders if she ever will embrace abundant happiness......The staging is accurate and the costumes lovely. Kudos to Anthony Head; he flawlessly captures Sir Walter Elliot, the most conceited, clueless genteel idiot who was ever most ingeniously conceived in the mind of a true observer of human nature and character-Jane Austen. We, the viewing public, are both sobered and amused.....

This lovely production has a brooding quality that mirrors the circumstances of the author. Unlike the rest of Austen's heroines, Anne Elliot, in a delicate anxiety-ridden performance by Sally Hawkins, isn't twice as clever as everyone else. She's been "persuaded" to make the wrong choices over and over. Her own character we see emerge in the course of the story, and her defiance of convention, class and family brings us a very "modern" heroine. Unlike the more sour comments here, I thought the production values exquisite, the cinematography mirrors both the romance Ms. Austen is noted for, but also a melancholy that is at the heart of all of her work. Beautiful scenes, for example, shot on a sea wall with a monochromatic palette very near the color of cold steel, we feel acutely the dilemma of the heroine forced to be in situation after situation where she has to face her past in the presence of her beloved. The beautiful visuals are matched, if not surpassed, by a delicate and evocative musical score. Anne's redemption comes slowly, perhaps too slowly for the more impatient in the audience. And Rupert Perry-Jones' Captain Rupert all but stops the camera with his impressive portrayal of Captain Wentworth. More empathic than Ms. Austen's usual love interests, Mr. Perry-Jones also stops the hearts of the viewers with his agony, visible to us, but not Anne Elliot. It would be difficult to pick a favorite out of Masterpiece Theater's "The Complete Jane Austen," but for me, this one might be it. It's economy, lovely cinematography, efficient screenplay, and splendid cast (save Amanda Hale who stops the show every time she appears on screen in a distracting, mannered performance that a director should not have accepted) especially the gentle beauty of Alice Krige as Lady Russell. "Persuasion" is free of the more clever elements that teeter many of Ms. Austen's works, and this production makes the most of a love story whose heroine earns her redemption with courage that is not facile or glib. To those who think "the book was better," of course. So glad you have your attitude. Pity you can't let go of it and enjoy this fine little production.