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76 reviews in total

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45 out of 50 people found the following review useful:
Beautifully observed portrayal of Jane Austen's mature tale of devotion, 14 February 2002

Author: Graham Ditcham from England

Following in the BBC's fine tradition of producing outstanding costume dramas through the 1970's and 1980's, including versions of Jane Austen's novels, this Bafta award-winning co-production, with WGBH and Sony amongst others, of `Persuasion' (her final complete work published mid rewrite in 1818, the year after her death), was made in 1995 with a stellar cast of British stage actors, many from the Royal Shakespeare Company with numerous TV credits.

The film's events converge on the time Napoleon has been banished to Elba and the Battle of Waterloo of 1815 is still a year away. Among the servicemen returning home is Captain Frederick Wentworth (Ciaran Hinds) who has been at sea for eight years since Anne Elliot's (Amanda Root) rejection of his marriage proposal. The Captain is now a man of prosperity and social rank while his former nineteen-year-old love interest has matured into a ‘faded and thin' old maid of twenty-seven in service to her family. Anne has lived to regret her mistake in being persuaded by her friend and patroness, Lady Russell (Susan Fleetwood, `Heat and Dust', who sadly died the year `Persuasion' was released), to refuse Wentworth as a man of unsuitable temperament. Whilst his affection would now seem to be directed towards her brother-in-law's sister, Louisa Musgrove (Emma Roberts), Anne's only romantic hope lies in the dubious and underhand attentions of her cousin William Elliot (an obsequious Samuel West, who was memorably the ill-fated Leonard Bast in `Howards End'). However, the accident on the Cobb at Lyme Regis requires Anne's sensible advice on how to handle the crisis and eventually leads to a second chance for her. Incidentally the Cobb was to play another starring role in John Fowles' `The French Lieutenant's Woman', with Karel Reisz' 1981 dramatic movie version embellishing it with a strikingly cloaked Meryl Streep braving the elements, ensuring that it will remain a tourist attraction in perpetuity.

Ostensibly with concern over the intellectual inequality of Captain Benwick's sudden attachment to Louisa after the accident, Captain Wentworth makes the impassioned declaration to Anne regarding his friend's broken hearted loss of his fiancee: `A man does not recover from such a devotion to such a woman, he ought not, he does not', but is patently reflecting on his own lasting strong feelings for Anne. Surely it is wiser to recognise when adoration for one person is no longer appropriate and a chance may lie with someone else. The supposed difference between the sexes regarding fidelity is discussed with Jane Austen adding the comment to her argument that the authors who view women as more fickle, have all been men. This last remark in the film is rather improbably but modernly given to Anne, who also makes the bold claim for her sex that it is capable of `loving longest when all hope is gone.' It is not a question of gender but of genetic makeup and whether you are truly monogamous, as Western religions and society would decree us to be, or true to yourself.

Although comfortable, life must have been dreadfully dull at times for the women in this world who could not relieve their tedium as their menfolk would by going off to war. This observation is endorsed by the couple of scenes depicting a concert and an evening of card playing, tinged with amber candle light infusing gentle nostalgic warmth to the proceedings which is at odds with the atmosphere of bored ritualistic entertainment. The different levels of lighting are used to subtle effect here and contrast with the cold glare of Ang Lee's brilliantly lit interiors in his working of Austen's first novel `Sense and Sensibility', also produced in the same year.

Amanda Root (`Mortimer's Law', and as Fanny Price, another of Austen's independent women, in `Mansfield Park' for BBC Radio 4) is brilliant as the quiet understated heroine with luminosity to her face that beautifully transcribes the full gamut of emotions she experiences from servitude to the blossoming of love. Her co-star, Ciaran Hinds (`The Cook, The Thief, His Wife & Her Lover') is equally gifted of expression, with a barely repressed anger and resentment towards Anne, under the guise of curt civility that eventually he is forced to recognise masks his continuing passion for her. Interestingly over the next two years both leads went onto appear in different versions of Jane Eyre, with Amanda Root well cast as the kindly schoolteacher Miss Temple in Franco Zeffirelli's 1996 version and Ciaran Hinds as a suitably anguished Mr Rochester in Robert Young's 1997 TV adaptation.

Jane Austen's fable may be recognised as the classic fairy tale of Cinderella, of a good hearted and dutiful daughter put upon by her foolish and snobbish father and cruel sisters, but who is eventually saved by her true prince. With great effect, the author adds to the romance her wit and sense of humour to explore the characteristics of the genteel world she lived in with all its human frailties. Nick Dear's screenplay, together with Roger Michell's necessarily less frantic direction than in `Notting Hill', adroitly captures the essence of Austen's narrative to provide one of the finest visual interpretations of her work. Strong supporting performances are also given by the ensemble of Corin Redgrave (`Enigma') as the supercilious father; Sophie Thompson (`Emma') and Phoebe Nicholls (`The Elephant Man') as the far from ugly sisters of hypochondriac Mary and haughty Elizabeth; and Fiona Shaw (`Jane Eyre') and John Woodvine (`Wuthering Heights') as the companionable Crofts.

Obviously complying with its `Beautiful People' culture the original cover of the American video version replaced the demure leads with two glamorous models, as a spokeswoman for Columbia Tristar in California has said, `I guess to make it a little more seductive to us over here'. Nonetheless, it is pleasing to read that this film was well received in the States especially as it remained true to its British identity, and therefore set an exemplary standard in not pandering to an anticipated overseas market by using well-known international stars.

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37 out of 38 people found the following review useful:
Best Jane Austen adaptation of late!, 18 July 2000
Author: stephanie passalacqua from Effingham, IL

This has got to be the most watchable Jane Austen adaptation since the recent influx. Amanda Root and Ciaran Hinds are simply the best at conveying unrequited love. One is not blindsided by the big names and distracting beauty of those that have filled the roles of more recent Austen films, and that's how it should be. The performances by Sophie Thompson (Emma's sister), Phoebe Nicholls (remember "Brideshead Revisited"?), and Corin Redgrave is enough to make this movie recommendable, but the 2 main characters are absolutely superb and sympathetic without being sappy or gratuitous. The other supporting cast is phenomenal; what one expects from a nice little English film. Cinematography and soundtrack are fitting as well. Highly recommended!

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39 out of 42 people found the following review useful:
Wonderful!, 4 December 2004

Author: pekinman from Illinois

I loved this film by Roger Michell. Adaptations of great literary classics are fraught with dangerous shoals which have all been blithely avoided in this superb adaption of Jane Austen's masterpiece about love.

There isn't a false move in the entire enterprise. The casting is perfect and the performances flawless.

Special kudos to Amanda Root's brilliant, subtle performance as the heroine Anne Elliot. Ciaran Hinds, as Captain Wentworth, is virile, handsome and highly attractive as the lonely sea-farer come to land after years of fighting in the Napolianic wars.

Not only is this a ripping love story it is imbued with great humor and pathos as well.

There is nothing "high-fallutin'" about it either. Not for one instant does the nasty face of preciosity enter in. The film speaks TO the viewer not at him from a high place.

There are some brilliant vignettes, notably in the person of Cinnamon Faye as the honorable Miss Carteret. She doesn't have a single word to utter but in her facial mannerisms conveys a hilarious portrayal of the empty-headed daughter of the nasty Viscountess Dalrymple. Only in the very last scene does Ms Faye utter and that is simply to emit the silliest sneeze I've ever heard. One of the brilliant and rare moments of exquisite comedy to be seen in a film.

Other standouts in the cast are John Woodvine and Fiona Shaw as the Admiral and his devoted wife. Sophie Thompson turns in a wonderful performance as the ever-whining, obnoxious younger sister, Mary, who, along with the elder Elliot daughter, Elizabeth, burden the long-suffering Anne with their uselessness. Phoebe Nicholls, of Brideshead Revisted fame (she was Sebastian Flyte's youngest sister Cordelia) contributes yet another wonderful performance in her career, as the ill-tempered Elizabeth, ultimately conveying the tragedy of the burgeoning spinster in the last scene.

Even if great literary classics aren't your "bag" don't miss this minor masterpiece if you happen to love great film-making.

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29 out of 30 people found the following review useful:
Charming but Unnoticed, 21 November 2003

Author: Pickwick12 from Ft. Myers, FL

For some reason, people seem to leave "Persuasion" out when they are naming Jane Austen adaptations. I find that lamentable, since it is such a wonderful film. It is exceedingly British, which means that Americans might find it a little hard to understand, but personally I think it is superb.

All the acting is stellar; I can't really identify a bad performance. Ciaran Hines especially shines as the warm but reserved Captain Wentworth.

Of all the Jane Austen adaptations (except "Pride and Prejudice") I believe "Persuasion" is the truest to the time period. The characters act within the conventions of regency England and seem to be comfortable doing so.

I would recommend this movie to any Jane Austen lover or a person who enjoys period films or classic literature. A person who does not fall into those categories might enjoy it as well, but is likely to find it slow and difficult to understand.

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27 out of 30 people found the following review useful:
Extraordinary, 31 August 1999

Author: suessis

I enjoy Jane Austin best of all when it is free of the Hollywood temptation to populate her cast with handsome men and beautiful woman. Anne Elliot is attractive not because she is some buxom blonde, but because her character is intelligent, quiet, and generously caring.

The photography in this film is extraordinary as are all the performances. Colin Redgrave is fabulous as Anne's father, a sniveling social climber, and Samuel West as the seedy relative who tries to get back in the families good graces to make sure that his fortunes are preserved. The actresses playing Anne's two sisters also do a praise worthy job.

I recommend this film highly even if you aren't an Austin fan.

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22 out of 23 people found the following review useful:
Two lovers rediscover each other after 8 years apart., 24 August 2004

Author: Kate Lapczynski from United States

This is Jane Austen's most adult work, and therefore most subtle. The movie adaptation is faithful to her story, taking it's time to develop the characters, and it is beautifully acted and staged. The strange changes to the Mr. Eliot story from book to screen make no sense whatsoever but are hardly a detriment to the story as a whole. This is one of my favorite Austen books and Austen adaptation. The casting is perfect; particularly fine are Ciaran Hinds as Wentworth, Amanda Root as Ann, Sophie Thompson as Mary and Corin Redgrave as Sir Eliot, but truly, the entire cast is flawless. I consider this a must-see movie for anyone who loves Jane Austen, or intelligent screenplays.

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19 out of 21 people found the following review useful:
A particular favorite, 24 September 2000
Author: notmicro from Seattle

The recently released DVD provides a wonderful opportunity to revisit this exquisitely done Austen. Her usual themes of elligible young women and men, their social positions, and their incomes, are very much in evidence; however here there is something a bit quieter and more deeply felt, as two special people get a second chance at happiness. The direction is remarkably fine-tuned, and the production makes a welcome attempt to portray a more realistic glimpse of the life of various classes during the period than is usual. The flamboyant period costumes are particularly amusing, and the sight of the naval men striding along jettys in uniform with their very striking hats is one that has always stuck in my mind.

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19 out of 23 people found the following review useful:
Root Shines In Normal Jane Austen-Fare, 2 July 2006

Author: ccthemovieman-1 from Lockport, NY, United States

Being a Jane Austen novel (this edition brought to the screen courtesy the BBC), you know it's primarily a chick flick, a romance novel with old English spoken, very nicely photographed with nice period sets and scenery and some interesting women to view.

This seems to be the case in most of the films, a la the famous combination of Merchant-Ivory. While this isn't that duo, it's still a decent version of this famous story.

What's different about this is the leading actress: Amanda Root, who plays "Anne Elliot." In America, this is not a lady whom we are familiar with, so she was a new "face" for me, as well. I liked her. I've heard criticism of her looks. You don't have to be glamorous to be accepted as a fine female actor. She was excellent in her role and just the looks on her face, particularly the sad looks, spoke more "volumes" than any dialog could manage.

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16 out of 18 people found the following review useful:
Beautiful and understated, 3 September 2000

Author: stills-6 from california

This is a very well put together, and yet very fragile movie that shows its budget constraints all too well. Beautifully acted and written, the direction unfortunately reveals the boxy nature of a TV screen. But despite the lack of impressive cinematography, the scenes are set up extremely well. The use of staging and visual metaphor are jaw-droppingly fantastic. Austen's relatively simple potboiler has been turned into a work of visual art that reveals the director's love for the material.

The music is done perfectly - it doesn't overpower or ever impose interpretation, instead it is just enough to maintain focus on the story. And I love the understated nature of the characters. It is easy to spot the hypocrites, but you can see why they are the way they are. It would be very easy to make Mr. Eliot into a simpering, unctious idiot - instead, he is played as a gentleman. It makes Anne a better character, and it makes the movie a better experience.

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14 out of 16 people found the following review useful:
Beautiful adaptation, terrific casting., 7 December 2004

Author: Brigid O Sullivan (wisewebwoman) from Toronto, Canada

And the celebration of the ordinary and the idea that true love will out itself whatever the obstacles put in its way.

The casting was inspired and utterly believable in this wondrous adaptation. I never tire of Ciaran Hinds, there seems to be so many layers in what he brings to his far too infrequent roles in films. I believe he is mainly a stage actor.

The story bears truth to Jane Austen's original work, and I am a long time fan of Austen.

Amanda is not glamorous in her role of Anne Elliot. But her truth and honour stand steady in the ebb and flow of the values, minor complaints and minutiae of her family life. It is clear from the beginning that she is the one with all the missing qualities in the others.

Fiona Shaw also captivates in the role of Mrs. Croft who strikes out in a completely different kind of lifestyle for the era, sailing the seven seas with her husband and sharing his adventures.

8 out 10. Well done to all concerned.

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