Directed by Carrie Cracknell, and starring Dakota Johnson and Cosmo Jarvis, Netflix’s new adaptation of Jane Austen’s Persuasion has left many of its audience with mixed feelings. Between those who loved the modern take given on the story, and those outraged by it, many are left torn in-between. I am one of these people. Persuasion is my favourite Jane Austen novel; the longing, the hope of renewal love, but most importantly the heartbreak. Unlike her other novels – which recount new love – this one explores the possibility of finding love once again with ‘the one that got away', and I love that. Was that well-portrayed in the movie? Perhaps not.
Indeed, the adaptation is more witty rom-com than the melancholic tone of the novel. This is, I believe, partly due to the modifications made to the personality of the protagonist, Anne Elliot. In the novel, Anne is a quiet observer, often the voice of reason in her family, but mostly overlooked. She is unhappy, heartbroken by her refusal of Captain Wentworth eight years prior and very self-sacrificing for the benefit of others. In the movie, Anne does not seem miserable or overlooked – at least, in the later parts of the movie. She appears as a young – which she is, in society’s eyes, not – an independent woman, who, despite her heartbreak, is now living her single life as best as she can. Upon Wentworth’s return, she does not look overly shaken, as though she has not spent the last eight years thinking of him.
Wentworth and Anne’s dynamic is very different in the movie. In the novel, there is barely any communication, the two parties are too engrossed in their pain or resentment to acknowledge each other. Most of the tension relies on the notion that no one, including side characters, ever talks about their betrothal. Netflix however gives them clear moments where they acknowledge their past. It is far from the quiet distant
longing. The pair even jokes together, seeming more like friends than past lovers. This, once again, I felt undermined the importance of their past and how impactful and hurt it left them.
It is true, however, that the modernisation of the movie is interesting. Indeed, by setting a movie in the Regency era and giving the characters a 2022 mindset – such as modern feminist ideals, language, and an independent, witty heroine – the adaptation appears more relatable to today’s audience and more light-hearted. However, it also took a part of the essence of the novel. Persuasion is not meant to be light-hearted – despite Austen’s narration appearing as such at times – as it is a story of lost love and renewal; you are meant to feel Anne’s pain and her slow transition into hope once again. This transition – from unhappiness to complete satisfaction – is not felt at all in the movie. Anne’s unhappiness is hidden by comedy – her treasure box, her alcoholism, her sarcasm – making it hard for the audience to truly understand it. The use of modern language also undermines the importance of Anne and Wentworth’s relationship; indeed, Anne describes them as ‘exes’, which, I felt, completely simplified the complexity of their feeling and relationship. Besides, Austen’s writing is absolutely beautiful; it was a shame they did not include more of her narration, instead replacing it with modern terms.
It is, however, interesting and important that this adaption has included people of colour in a generally white-cast movie. Previous adaptations of Austen’s novel have had mainly – if not only – white actors. However, Netflix’s Persuasion has cast, for example, Nikki Amuka-Bird as Lady Russell or Henry Golding as Mr Elliot. Is this following Bridgerton’s casting of BIPOC in historical fiction? Possibly and I am here for it. However, I think it is a shame that BIPOC actors were relegated to secondary roles. Mr Elliot, for instance, is the second love interest, and a sort of villain as well. I honestly think I speak the truth when I say that fans of Jane Austen and Henry Golding would have been overjoyed to see him as Captain Wentworth. I think this was, in fact, a missed opportunity, especially as Mr Elliot is insignificant in this new adaptation. He has very little screen time and his interest in Anne comes across as aggressive, far from the charming, cunning gentleman.
I love Captain Wentworth but Cosmo Jarvis’ interpretation of him was not it. Besides the mediocre acting, I thought he came across as too rough and ‘unpolished’ to be believable. His ruggedness was enhanced by his clothing, unshaved face and wild locks, but I simply don’t think it suited the character. For me, it would’ve made sense that he looks impeccable at all times, appearance-wise. Yes, Wentworth is a sailor and a man of common birth. However, as such, in that time, it would not be surprising that he would have overcompensated his ‘inferior’ birth by mimicking the upper classes – in clothing but also in manners etc. – in order to prove that, due to his rank, he belongs alongside them. Indeed, he is the ‘New Gentleman’; well-mannered, independent and brave. I did not feel as though this shined through in the adaptation.
A final note; I felt that Mia McKenna-Bruce as Mary deserves a real shout-out. Mary, in many adaptations of Persuasion, is my favourite. And McKenna-Bruce did not disappoint. Despite Mary’s character modernisation, she remains insufferable, yet charming. Her moments on screen were the absolute best.
Being a fan of Persuasion, I did not watch the movie with too much expectation, therefore, I am not shocked by its ‘outrageousness’ as others may be. I honestly thought that Dakota Johnson playing an English role would be insufferable, but surprisingly it did not bother me that much. The entire movie is light-hearted and entertaining, and while I will probably not watch it again, I can understand how it appeals to non-Jane Austen fans. I understand what Netflix was trying to do, such as with BIPOC or by integrating feminist ideals, but still, they did not quite hit the mark. For instance, instead of forcing modern feminist thoughts in a historical setting, they could’ve highlighted Mrs Croft, the original feminist character of Persuasion. In my opinion, the adaptation felt more like a parody than an adaptation of the novel, which is a shame. I understand why many perceive it as an ‘insult’ to the novel although I’m not sure I agree. Yes, it lost many of the essences of the book, but it also made the movie more accessible, and who knows, maybe it might even inspire people to read the book and one day become true Jane Austen fans?
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