Overview: Living with her snobby family on the brink of bankruptcy Anne Elliot is an unconforming woman with modern sensibilities. When Frederick Wentworth - the dashing one she once sent away - crashes back into her life Anne must choose between putting the past behind her or listening to her heart when it comes to second chances.
Director: Carrie Cracknell
Cast: Dakota Johnson, Cosmo Jarvis, Henry Golding, Richard E. Grant, Nikki Amuka-Bird
Original Language: EN
Original Title: Persuasion
Budget: N/A
Revenue: N/A
MPAA Rating: PG
Keywords: based on novel or book, england, marriage, female protagonist, period drama
š¬ Tonton Trailer ā¶ļø Watch NowManuel SĆ£o Bento (July 20, 2022)
MORE SPOILER-FREE REVIEWS @ https://www.msbreviews.com/ "Persuasion seems to be another typical case of book adaptations: anyone familiar with the original material will struggle to appreciate even the slightest change; those without previous knowledge of Jane Austen's novel might be able to enjoy the film for itself. As someone belonging to the latter group, I found myself surprisingly satisfied. Despite following all the narrative paths in the most predictable, cliche manner possible, Dakota Johnson's fabulous performance and some unexpectedly humorous interactions are enough to make the viewing rather pleasant. Far from being innovative or unique, but it still serves as a recommendation for fans of the genre." Rating: B-
Peter McGinn (August 20, 2022)
There are two groups of viewers who profess to hate this movie, and I have some sympathy for one of those groups. The Jane Austen purists are furious about it (āfurious puristsā - say that three times quickly). The story has been updated ā sort of. That is, we find modern language and expressions popping up here and there, but clearly it still takes place in the past. It possesses a modern sensibility but still resides in the past. There is more wit and humor in this version, and I am fine with that. And having Anne talk directly to the camera is something different for an Austen adaptation. I am usually not crazy about narration and voiceover, but again, it is witty and it works for me. If I feel like watching an adaptation closer to the original novel, there are the 1992 and 2007 versions to fall back on, after all. They will always be out there. Donāt get me wrong; there were one or two places where even I thought they had played too fast and loose with the characters: such as when Anne Elliot embarrasses her brother-in-law in front of a large gathering for dinner by saying he had been interested in marrying her before settling upon sister Mary. That seemed too mean-spirited for the character they were building and we came to know. So the Austen lovers are upset in the same way that historians were when most historical movies change history or the real life people involved. I get that feeling even if I donāt share it. The group I donāt sympathize with are the racists, aka the haters. They sometimes try to shield their racism by talking about āwokeā culture, or whatever. But the simple fact that they canāt see past the race and skin color to the individualsā performances is exactly why it is important to have non-whites playing some of these roles. Where are these hating snowflakes when talking about the thousands of movies over the decades where all roles were played by whites? Wait, what? That doesnāt offend them equally? Big surprise. It is a fine entry in the Austen adaptation collection. Do watch it without prejudice if you can.
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