Customer Reviews

Persuasion

5 star:		(126)
4 star:		(35)
3 star:		(17)
2 star:		(10)
1 star:		(12)

 

 

This movie is not only the best film adaptation of a Jane Austen novel, it's also a wonderful film in its own right. What did I love about it?

1) It isn't stuffy and unnatural. The characters sound human when they speak; you can imagine that this is how people spoke in the 19th century - not like pompous orators, but like real people. The world surrounding the characters isn't overly polished or brightly lit; again, there's a natural, "lived-in" feeling to all the buildings and landscapes; they do not look like they came out of a glossy postcard.

2) The performances. I don't have enough praise for Amanda Root, who plays Anne Elliot, a woman whose marriage prospects are slim to nil, and who has just been thrown into the company of a man whom she rejected years ago. Root can speak volumes just with her eyes, and everything about her fits perfectly with the gentle, wry and intelligent Anne Elliot. As Captain Wentworth, Ciaran Hinds is also great; he disappears into the character. Both actors aren't conventionally beautiful or handsome either; Root in particular blossoms before the viewers eyes - at first she's very faded and quiet, and then we (like Wentworth) see her spirit shine out. In addition to Amanda Root and Ciaran Hinds, the rest of the cast also do a wonderful job. Perhaps because there aren't any big name actors, we can get totally immersed in the film.

3) It's true to Austen. There's subtle humor, real human feeling, and a keen understanding of human nature. It's an unforgettable love story.

4) The kiss. One kiss - perfectly timed, perfectly executed... you will melt.

5) The soundtrack. This holds true particularly for the assembly at Bath, and the Italian vocal pieces.

My copy of the novel "Persuasion" refers to it as having an "autumnal" tone, which has definitely carried over into this adaptation. It makes no pretensions to being another "Pride and Prejudice," or "Sense and Sensibility", lacking those books' underlying theme of warm friendship between sisters. Nor is it like "Emma" or "Northanger Abbey," both comedies featuring immature women and their self-discovery. In other words, "Persuasion" may be a disappointment to those who passionately love one of those other stories, and expect the same thing. This is ironic, considering that some believe "Persuasion" was based on an incident in Jane Austen's real life, where she apparently turned away a suitor in her youth, and later regretted it.

Again - the "autumnal" tone is picked up by the two leads, who are older and less conventionally attractive than, say, Kate Beckingsdale or Jeremy Northam. Ciaran Hinds has a quiet charisma that grows the longer you watch him, and has developed into a viable leading man. Amanda Root begins the film as a grey little mouse and transforms into a more lovely woman halfway through, solely through her skill as an actress, and not through a film of vasoline smeared on the camera.

Those who complain that Root is not pretty enough to fit their mental image are missing the point, and probably did not read the book, where Austen points out that Anne's beauty had faded with age. (As we read on, we realize that it's her love for life that's dimmed, which in turn has affected her attractiveness to others. Her handsome father certainly becomes less good-looking each time his prissy behavior is described.)

In the film, it would be easy to pull a "Grease"-like transformation - where, like Olivia Newton John, Amanda Root comes out all dolled up in makeup and a hot bodice, ready to jump on the Regency tilt-a-whirl. But the Captain and Anne regain their passion for another through their rediscovery of each other's hearts, not their good looks - although seeing each other's good character instantly brightens their countenance and puts a spring in their step, making them much more attractive. Neither Hinds nor Root need a gallon of makeup to make this transformation believable.

The two performances that I enjoyed most, however, were that of Sophie Thompson and Fiona Shaw. Thompson, who was only vaguely boorish in "Four Weddings and a Funeral," as a woman despairing of meeting a quality mate, goes full-hog as a high maintenance mooch. Very funny.

Shaw, on the other hand, is one of the funniest things about the "Harry Potter" movies, as Harry's dreadful aunt. Here, she is positively vibrant as a happy naval wife. She just brims with love and vigor, believable as a woman who has travelled the seas to be with her husband, and who wishes happiness for her younger brother and all around her. Both the character and the portrayal make a fine contrast to Anne's waspish sisters and father, and the overindulgent yet loving Musgroves. Only five years older than costar Root, with what seems to be a great range, I wonder what charm Shaw might have brought to the role of Anne if she had been offered the part at an appropriate age.

This is a warm, and yes, subtle movie, which will chase away the blues on a winter day.

I loved this movie. I had seen this movie before purchasing it, but still, seeing it again was so wonderful. For me, this is definitely my favorite Jan Austen movie (gasp! Even more than the Pride and Predjudices! ) because it is so personal, and relatable! and heartbreaking, and intimate. This movie does 'pining for love' so well! I felt so connected to the characters throughout the entire film, and I just knew and empathized with so much of what they both were feeling throughout the entire film. Don't get me wrong, though! This movie is a classic, period, British film through-and-through, and has all of those beautiful every-day life moments you expect. But, it also has the fact that I was able to get everything, every nuance, every emotion, every thought going on beneath the surface throughout the entire film and from all of the actors' from so many subtleties. Just lovely.

I thoroughly enjoyed this adaptation of Jane Austen's "Persuasion." Unlike some other reviewers on this site, I found Amanda Root to be a perfect choice for the role of Anne Elliott, who had "lost her bloom" at age 27. At the beginning of the movie, Root's Anne is timid, often self-effacing, and her physical appearance is, frankly, plain. Thoroughout the course of the film, as she rediscovers her feelings for Captain Wentworth (Ciaran Hinds)she becomes more animated and self-assured, and by the end of the movie, sure of the captain's love, she positively blooms again. I liked the cast in general, although I thought that Hinds may have been an older Captain Wentworth than Austen envisioned. Corin Redgrave gave his usual excellent performance as the vain and foppish father of Anne and Elizabeth. I did not care for Phoebe Nicholls interpretation of Elizabeth Elliott, however. Ms Nicholls, who was so brilliant in "Brideshead Revisited," played Elizabeth (who is in her late 20s) as a spoiled teenager who would have been more at home in the Los Angeles of the 1990s than early 19th century England. Sophie Thompson (sister of Emma) and Fiona Shaw were outstanding as Mary Musgrove and Mrs. Croft, respectively.

The film makers did take some liberties with the story....it has been commented on several times by critics that Anne and the Captain never kissed in Austen's novel. While this is true, most of the film adaptations of Austen's works that I have seen include scenes of kissing between men and women who have come to an understanding of their love for each other. "Persuasion" is certainly a more faithful adaptation of Austen than is "Mansfield Park," which was released about the same time, probably because it does not have a political ax to grind.

I have always been a Jane Austen fan, but never read this particular book. Very well acted, and contains the sentiments of the book. Would definately recommend

I'm afraid I must agree with arabellafig. It isn't exactly poorly done, but it could be far far better, and suffers badly from comparison with Emma Thompson's "Sense & Sensibility" and of course with A&E's exquisite "Pride & Prejudice" but it could be far, far better. I too had high hopes after reading so many glowing reviews, the story will always be memorable, but it is almost a filmed version of Cliff's Notes on Austen's original tale. It runs 104 minutes to S&S 136 to P&P's 6 volume set. Why? Perhaps it was designed around television commercial space.
What particularly grated was the casting and much direction which was strangely off. The eldest sister Elizabeth is pissy and crude although she has been in charge of Sir Walter's social responsibilities and second only to him in "precedence" since her mother's death. It is not necessary to have her slouch in a chair and throw papers about in a pout to establish her character as a bad egg. Neither one, especially Ann, is believable as daughter of nobility and the upper class. Ann in particular clomps about clumsily, starts, scuttles, and hides. One can hardly imagine her daring to give an order to anyone (other than calling for a doctor after Louisa's fall) although giving orders to servants is her station in life. The very elegant and lovely and believable Lady Russell has been her close companion and surrogate mother since Ann lost her own mother at 14 - and this is the result? Compare to Lady Russell herself, to the S&S apparently lower ranking Eleanor Dashwood (Emma Thompson) saying her farewells to the servants or the elegant creature who Marianne Dashwood discovers to be her replacement, or to P&P Elizabeth and Jane Bennet. Rather than an image of a Lady of gentle quietness, forebearance and resignation, she seems more a scared rabbit. I could see her in the role of the starting, clomping, bewildered maid in P&P being ordered to stop working on Lizzy's hair and attend to Miss Jane. She does the staring traumatized eyes quite well however, so they are featured in nearly every scene. The hypochondriac youngest daughter Mary is well acted - but she even seems older than Ann.
What is NOT featured is any kind of dialogue that would establish the character that is claimed for her. We have only the doormat behavior to establish deference to others; the blandishments of the scheming Mr. Elliott on skill at Italian; the final speech overheard by Capt. Wentworth. We should be allowed to see more of her than what is filtered through her blind and belittling family, not less.
P&P actually added character development - for example, not until the scene at the Rosings pianoforte did it occur to me that part of Mr. Darcy's problem just might be that he is as naturally shy as his sister, or why Georgiana had specifically NOT been entrusted to the tender care of Lady Catherine. Edward in S&S was beautifully developed through Margaret's Atlas (in a wonderful scene that does not exist in the book).
I don't suppose I will never ever watch it again, but it has sent me back to re-read the novel. A good thing, that, as is the reminder that a wonderful story does not automatically make a wonderful movie all on its own - and the critical impact of good direction, the overall artistry of casting, lighting, staging, landscape. One of the things I love about DVDs (such as S&S) is the opportunity to listen to scene commentary by the actors and directors, to understand how very much goes into the making of a good or great film, how little into poor or merely adequate ones.

Wonderful movie to watch with my granddaughters and comment on characters. Need to see it several times to be able to catch all the innuendos. The "upper class" in Britain was pompous and very class conscious. Nice to see that there was self assertion in choosing a mate - even if one has to wait 8 years. Such a happy ending. Good to see the Captain stand up for his rights - showed he had a backbone. To follow our hearts takes courage and dertermination. Good title.

Wow! Un vrai film romantique! Un belle histoire (roman de Jane Austen)et d'excellents acteurs so britsh! J'adore les productions BBC, elles sont bien faites et très esthétiques. Les costumes, les manoirs, nous font rêver! C'est une jolie histoire d'amour qui révèle que même le temps ne peut rien lorqu'on aime et que l'espoir perdure. Sans tomber dans le quétaine, je crois que monsieur ne s'emmerdera pas trop avec sa blonde, car c'est une histoire avant tout, pas une niaiserie d'ados! Comme la pochette le dit :«Un magnifique conte de fée pour les adultes!» À voir et à revoir!

In Jane Austen's time, young women were taught that it was practically their duty to "marry well" -- someone of at least equal social/financial standing.

But if a woman turned down a suitor for being poor, she ran the risk of losing the man she loved. That's the problem for Anne Elliott, the heroine of Jane Austen's "Persuasion" -- a delicate romance that takes place AFTER the romance, rejection and heartrending sorrow. But the best movie adaptation wouldn't work without Amanda Root and Ciarán Hinds.

Eight years ago, Anne Elliott (Root) was engaged to the handsome, intelligent and impoverished sailor Frederick Wentworth (Hinds), but was persuaded to dump him by the family friend Lady Russell.

Now she's twenty-seven (ancient by the time's standards), and her vain father Sir Walter (Corin Redgrave) is facing financial ruin. So he decides to relocate to Bath and rent out the vast family estate -- and it turns out that the new tenant is Frederick's brother-in-law. Of course, Anne still loves Frederick, but he doesn't seem to feel the same, especially since he's rumored to be interested in some younger, flirtier girls.

And Anne's worries increase when she joins her family in Bath, where her father is attempting to live the lifestyle he feels he deserves (since he's a baronet). His heir, William Elliott, recently reestablished contact with his relatives -- and he seems very interested in Anne. But Anne suspects that he has ulterior motives... even if she doesn't realize how Frederick truly feels about her.

"Persuasion" is a very different story than Jane Austen's other novels, mainly because it was the last book she wrote before her early death -- it has an older heroine, admiration for the self-made man, and a sense of bittersweet resignation to lost chances and old loves. And the movie adaptation is very faithful to the original novel, and maintains the same mixture of romanticism and realism.

The only major problem with the movie is that it moves... very... slowly... throughout the first three-quarters of the movie. But it has Austen's subtle wit ("My offer to flatter and adore you all the days of your life." "I haven't had a moment to turn my mind to it") and delicate romantic interplay, as well as some delicious harpooning of puffed-up aristocrats, social climbers and nasty relatives.

Root is absolutely brilliant as Anne -- she's not pretty, but her enormous liquid eyes give her a quietly striking quality that is much rarer than mere prettiness. And she does a great job with Anne's quiet despair at ever getting married, particularly to the one man she loved. And Hinds is equally amazing as Wentworth, a strong, intelligent man with a deep inner fire. The scene in which they finally come together in the street is staggeringly powerful... although the passing circus is kind of distracting.

The adaptation of Jane Austen's final novel is a polished, slow, slightly bittersweet love story about a second chance with the one you love. Be persuaded -- "Persuasion" is lovely.

Persuasion was produced during a flurry of Jane Austen screen adaptions during the ninties and it is one of the best. Orignally made for television, it also enjoyed a theatrical release. Amanda Root is all eyes as a resigned Anne Elliot, the overlooked, under appreciated daughter of the vain, snobbish Sir Walter Elliot, played with zeal by Corin Redgrave. Anne, a spinster in her late twenties, having lost the bloom of her youth, gets through life by making herself useful to her self centured, irresponsible family. Suddenly, her lost love, Frederick Wentworth (a wonderful Ciaran Hinds) comes back into her life, rich with prizes from the Napoleonic wars, and appearing to be interested in the young Louisa Musgrove. Or is he? Hinds is wonderful as a dignified, mature man who nevertheless bears emotional scars. Of course there are many misunderstanding and missteps, anyone who had read Austen knows that her characters live in a time when men and women could not directly communitcate with each other. How can you say what you feel when social propiety does not allow it?

I find that the main difference between the British and American Austen adaptatons is that the British allow themselves to be more subtle, whereas the American produced adaptions of the Austen novel tend toward the satirical. (Gweneth Paltrow's Emma is a good example) This is very evident in this version of Persuasion. The cast shines but no one overplays their role for comic effect and the Regency world the characters inhabit seems like a genuine place and not a stage set for a costume drama.

One note: This was the last screen appearence of Susan Fleetwood who sadly passed away from cancer shortly after this film was released.