PERSUASION (1995) | Jane Austen Month
A collaboration between Dominic and Mary Morlino!
Welcome back to Jane Austen Month! Last time I began with some words on the author herself; today I’ll begin with some words on the book Persuasion. It was the last of Jane Austen’s six novels to be completed, and it was published together with Northanger Abbey on December 20, 1817, several months after her death. As with her other novels, Persuasion was published anonymously: the title page refers to her as merely “the author of Pride and Prejudice, Mansfield Park, etc.” However, the book includes a biographical note by Jane’s brother Henry, revealing the author’s identity as Jane Austen. Henry is also the one who titled the book: Jane left no title, although she had previously referred to the manuscript as The Elliots. The Austen family retained the copyright.
Persuasion the movie is directed by British film and stage director Roger Michell, and written by British screenwriter and playwright Nick Dear. It stars Amanda Root, Ciarán Hinds, Fiona Shaw, Simon Russell Beale, and Sophie Thompson. It follows Anne Elliot (Root) as she rekindles a romantic relationship with Captain Frederick Wentworth (Hinds), eight years after she is persuaded to turn down his proposal of marriage. The film is technically a TV movie, airing on the BBC in April 1995, but it was released in theaters in September 1995 by Sony Pictures Classics. It won five BAFTA TV Awards, including Best TV Movie.
There are a couple of fun connections to Sense and Sensibility! For one thing, the two films (as well as the Pride and Prejudice miniseries) were released in the same year. Also Anne’s sister Mary is played by Sophie Thompson, the actual sister of none other than Emma Thompson. And finally, Amanda Root is friends with Emma Thompson; she helped Emma with the script of Sense and Sensibility and almost played Marianne.
I want to start the review proper with what I don’t like about the movie, which is something I generally don’t do. My main issue with the movie is that it’s somewhat slight, dramatically. There’s nothing in this movie on the same level of dramatic intensity as the revelation of Willoughby’s knavery in Sense and Sensibility, for example, or Wickham and Lydia’s elopement in Pride and Prejudice. Nor is there the kind of grand comedic sensibility found in 2020’s Emma. And yet, the movie works. It works because it’s so delicately and maturely written. Because it’s full of characters that you genuinely care about and want to see happy - Anne, Wentworth, the Crofts, the Musgroves, Lady Russell, Benwick. Even Anne’s stuck-up, elitist family aren’t so odious that you don’t still enjoy the scenes they’re in.
Another “problem” I have is the character of Mr. Elliot. In pretty much all of these movies, there’s a point where the pacing feels more abrupt than normal, as if the writers had to condense a lot of story material into not a whole lot of screen time. Here Mr. Elliot bears the brunt of that condensation: he shows up late and he doesn’t have much to do. You could almost cut the character completely and not much would change. He doesn’t feel like a romantic threat to Captain Wentworth, and he doesn’t feel like a threat to the happiness of our characters (unlike the two villains I mentioned above). But again, the movie works, because we’re so invested in Anne and Wentworth’s relationship.
On that note, these two characters are great, as are the two lead performances. Anne is such an interesting protagonist; being an especially introspective character, we often see just a closeup reaction of her face rather than hearing her speak. Amanda Root does a terrific job capturing all these little moments and reactions. I especially love when she meets Wentworth for the first time after their long separation. It’s a moment where absolutely nothing happens, and yet for her it was everything. You can really feel that this is a moment she’s been dreaming about for eight years, and then the actual meeting is as disappointing as can be. It’s tremendously satisfying to see Anne go from someone completely devoted to serving others (and being persuaded by others) to someone no less loving but no longer persuadable by others.
Captain Wentworth is just the coolest guy, and he’s such a great counter to Anne. Ciarán Hinds is so physically imposing and he imbues the character with such a unique and powerful presence. I love how cool and nonchalant he is at the beginning of the movie, which give way to little moments of insecurity, frustration, and even pettiness, later on. As great as the two of them are, however, I also really like how the movie shows how it didn’t have to end up that way. Anne very quickly develops a strong attachment to Wentworth’s friend Captain Benwick. Their relationship feels natural and organic, and you can easily envision the two of them ending up happily married if things turned out differently.
Now it’s time for a little rant about Mary (the character in the movie - not my wife). Mary is hilarious but also a truly awful human being. She claims to be deathly ill when it’s convenient and then crashes other people’s outings when she feels like it. She castigates her husband for leaving their infirm son at home in order to go to a dinner party, and then does that very thing when Anne volunteers to stay with the child. Worst of all, she’s an elitist jerk! I’m all for titles and hierarchy and all that, but Mary insists on her precedence over her own mother-in-law on the basis of her dad being minor nobility, which is super petty. And then she shuns her husband’s “bad connections,” refusing to even enter his aunt’s house. Mary is awful. I was ready to call her my most despised Jane Austen character, but she does have a few nice moments later on in the movie, so I’ll leave her tied for most despised alongside Willoughby and Wickham.
Time to update the Jane Austen/Harry Potter actors crossover. We’ve got Ciarán Hinds (Captain Wentworth and Aberforth Dumbledore), Fiona Shaw (Mrs. Croft and Aunt Petunia), and Sophie Thompson (Mary Musgroves and Mafalda Hopkirk). Only half as many as Sense and Sensibility, but still quite respectable.
The last thing to talk about before I hand over the reins to Mary is the production value. While it’s obviously a TV budget and quality, the costumes are beautiful, the sets are sumptuous, and the outdoor locations are quite nice. Particularly the seaside scenes at Lyme Regis, where Harville and Benwick live. The beauty of the location is captured by cinematographer John Daly in all its glistening, sun-kissed beauty. There’s nothing quite like the simple beauty of outdoor locations filmed by an old film camera. The one thing that disappoints me is the music. While I appreciate the couple of Chopin pieces they include, the original score left absolutely no impression on me.
And now…
Mary's Costume Corner
The gentle, Chopin-esque notes of the opening scenes of Persuasion are so familiar and so comforting to me. This movie on the whole isn’t quite as flashy as some other adaptations, but it’s truly my favorite, and the one I return to most often. I love how real and lived-in these characters and clothes are, and I love the subtle choices we see from the extremely talented Alexandra Byrne (who also did the stunning 2020 Emma, among other period films).
This story begins in 1814 (during the War of 1812 & the Napoleonic Wars), and we get to see some really unique military-inspired elements, both on the actual military figures like Captain Wentworth and the Admiral, and also on fashionable women like Lady Russell (love Alexandra’s bold turban choices!). As with any good adaptation, there are distinct class differences shown in the dress, from the high-class Elizabeth Elliot, to the gentleman’s daughter Henrietta Musgrove, down to the impoverished Mrs. Smith. There is also a lovely array of locations within this film that I really appreciate, since we don’t always get to see the difference in dress between a prim drawing room, a brisk walk to “me Aunt Hayter,” and a group of well-to-do folks down at the seaside.
What I love most about these costumes is the incredible attention to detail in trim, fabric choices, and head coverings. It’s hard to see all of it in the film, but if you ever have a chance to look up some of the specifics of the costumes and pay attention to the sleeves, hems, and beadwork, you’ll be able to tell what love has gone into all of the character design. I think this was absolutely crucial in helping this wonderful cast enter fully into the landscape and era of Persuasion, and what makes it feel so believable and cohesive. I also love how we get to see how Anne’s dress evolves to be a little brighter and prettier as she becomes happier and more confident (her drab dark green cloak at the Musgroves compared to her soft pink outerdress in Bath).
As far as my favorite costume goes, it’s so hard to choose just one. I’d like to highlight Elizabeth Elliot’s scarlet dress, since it really is stunning and is a fun nod to the military influence. But really my answer is anything Mrs. Croft wears. She shows us a style that really stands out from the usual Regency films since she’s not one of the usual suspects, and I just want to go on so many adventures with her and the Admiral!
Can’t wait till the next time I fall asleep to this one!
Score: 9 out of 10. This one has grown on me over time. It’s quite excellent and beautiful even without some of the things that make the other three Jane Austen movies stand out as greater and bolder.
Value for a Catholic audience: Good! Anne’s simple, steadfast goodness and virtue see her through as she matures into a fully free and capable woman.
Previously:
Next up: Pride and Prejudice (2005)!