Persuasion: A Lacklustre Adaptation

Dakota Johnson stars in this light rom-com adaptation of Jane Austen’s novel, Persuasion. Published in 1817, Persuasion was the last novel Austen completed prior to her death. It recounts the story of Anne Elliot who, eight years after being persuaded to give up the man she loved due to his lack of fortune or title, finds herself hoping for a second chance when they cross paths again.

Adapting Persuasion for the screen poses a set of challenges. The novel relies on narration over dialogue to explore its characters and their inner workings, and this is particularly true of the protagonist. More introverted and overlooked than some of Austen’s other heroines, Anne often takes a backseat in group conversations. Even when it comes to her returned love interest, Captain Frederick Wentworth, the pair’s direct interactions are limited as they each quietly assume the other has moved on.

These challenges emphasize the need for a strong onscreen chemistry between the romantic leads, who must be able to carry and build romantic tension often through sidelong glances alone. Johnson as Anne and Cosmo Jarvis as Wentworth unfortunately lack chemistry together, and the audience and film suffer for it as we simply don’t pine for the pair’s union, nor do we feel the deep satisfaction we should when they ultimately get together.

The biggest risks taken by director Carrie Cracknell and screenwriters Ron Bass and Alice Victoria Winslow include modernizing some of the language and having Anne break the fourth wall by glancing at and speaking directly to the camera, like in “Fleabag” or “The Office.” However, the inconsistent use of both creative choices significantly hinders their success.

Where “Fleabag” uses the break-the-fourth-wall technique with deeper purpose, and “The Office” to consistent comedic effect, Persuasion fails to make its application clear. Mostly it feels like another gimmick to modernize the film and give Anne a lightly snarky spirit, but other times Anne is baring her soul to the camera in sincere monologue. The contrast is off-putting, as is the excessive use of the technique in which Anne often over-explains the story and characters to us instead of letting them speak for themselves—which would have saved valuable time better spent on developing plots and relationships further.

Some of the characters receive a playful modern upgrade, although the inconsistent mix of language old and new often takes us out of the humour instead of adding to it. The film uses lines taken directly from the novel followed immediately by phrases like, “He’s a ten.” It’s a disjointed approach, like an adult occasionally trying to sound “hip.”

The cast do what they can with the dialogue and add their own twists to their characters. Richard E. Grant is delightful in his small turn as Anne’s vain father, Sir Walter Elliot, while Mia McKenna-Bruce hilariously brings Anne’s whiny, self-pitying sister Mary to life. Henry Golding is sadly underused as Mr. Elliot, a character with more (villainous) substance in the novel.

Johnson’s Anne is more lively and outgoing, a change from the novel that appeals more to the film’s light romantic comedy style; Austen’s Anne is a little too quietly observant and outwardly inconsequential for a rom-com movie protagonist. The silly sequence in the film in which Anne gives herself a jam moustache and wears a bread basket hat felt charmingly “Little Women.”

The set design and cinematography are the most vibrant aspects of the film. Kellynch Hall itself is a brief standout character — that wallpaper! — with the playful opulence of the Regency era on full display. The cinematography is predictably gorgeous, capitalizing on coastal sunsets and cliffside views in Dorset. A conversation between Anne and Wentworth is memorable for its beachside location and Anne’s dip into the ocean, the camera capturing the way the sea blends endlessly into the sky.

Whether audiences love or hate this adaptation, Netflix is surely pleased that the film is drawing viewers and debate as it remains on the streamer’s Top Ten popular movie list.

Persuasion was released on Netflix on July 15.

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