Review of PBS Masterpiece's Persuasion (aired 1-13-08)

Yes, I am officially a month behind on all things Austen (not to mention other aspects of my life!) *Sigh* I hope to catch up in the next two weeks.

---

Gillian Anderson said some words at the opening of the new Masterpiece season about the "mystery" of Jane Austen, namely how did an unloved, uneducated (?!) women write such great novels? (I'm pretty sure those weren't her exact words, but something to that effect.) As to the question of why we still read her novels, the answer given was because she "makes the difference between true love and false very clear." I like that.

I'm not sure I liked the rest of the evening so well. Overall, I think Sally Hawkins (as Anne Elliot) did a good job with what she was given. She had the right look - pale, plain face and severe hair, but a cheerful and sincere smile that reflected her inner beauty in small glimpses. She personified Anne's "faded bloom" at the ripe old age of 27. However, I think the direction focused far too much on her crying, trying not to cry, trying to look like she hadn't been crying, or generally staring off into space (or at the camera!) with a forlorn look. Anne Elliot is stronger than that -- she has fortitude, composure, and self-knowledge -- qualities which this film in its brevity and disjointedness could not possibly convey. Instead she comes off as somewhat pathetic and desperate.

Rupert Penry-Jones as Wentworth did a fine job of acting blond and silent. He had so few lines and we were given so little insight into his character that I can say no more. Someone unfamiliar with the story would doubtless be at a loss as to why he was such a catch, and unconvinced that his cool exterior hid any sort of smouldering passion for Anne. He snubs her wonderfully in just three words -- "We are acquainted." Later he is more pointed in his insistence on "firmness of character, a woman who knows her own mind," not a timid mouse like Anne. He seems like a bit of a jerk, until he first betrays his feelings for Anne by taking great interest in hearing of her refusal of Charles' (Sam Hazeldine) hand. Shortly after he gives her the very high praise of being "capable." Be still my beating heart.

Lady Russell (Alice Krige) comes off as a well-meaning(?) busybody. We get little idea of her and Anne's actual friendship and are left in doubt as to whether she really had Anne's best interests at heart or was just being meddlesome when she persuaded her not to marry Wentworth those long eight years ago. Anne's youth, the uncertainty of wartime, and his lack of fortune are her given reasons. Lady R is portrayed more as the enemy than is wholly fair, I think. To blame her for their breakup takes the power away from Anne's growth as an independent woman who knows her mind and con now stand up for herself.

Sir Walter Elliot (Anthony Head), with his baronetage never once mentioned, seems incredibly cruel in his complete lack of love or affection for his spinster daughter. I believe it is he who says "even you, Anne!" when they are invited to dinner. This indifferent treatment adds a "Cinderella story" aspect to the plot which I never noticed before (maybe because it wasn't there?). I need to re-read the novel to be sure.

Mary (Amanda Hale) is perfectly annoying: self-absorbed, foolish, simpering, and a hypochondriac. I'd completely forgotten about Mrs. Clay (Mary Stockley), and spent half the film trying to remember who she was, and kept confusing her and Elizabeth (Julia Davis). Anne's old school friend Harriet Smith (Maisie Dimbelby) played a more important part in book, but was an afterthought in this film.

Mr. William Elliot (Tobias Menzies) has a haughty, sneering demeanor that seemed to require little acting. His proposal is appropriately insincere - he uses the clichéd of wishing to be made "the happiest, most fortunate of men" by her acceptance -- only bad people use these hackneyed phrases in Austen's world. His wish "that name might never change" sounds rather creepy to a modern sensibility. I'll have to re-read the book to see if he really propositioned Mrs. Clay to be his mistress. I certainly don't recall it, but it has been a few years...

More than any other adaptation, this film gave me an idea of why Austen may have disliked Bath so: Promenading around the Pump Rooms looks dreadfully boring; the décor at Camden place was truly tacky; the ridiculous running to greet Lady D. was unbelievable. Did they really do that!? The Cobb at Lyme, however, with the waves crashing and sun shining, was simply beautiful. I get the attraction to Lyme now.

The snobbery of the gentry towards the navy was fairly clear, but I think Austen's larger point was lost. In the novel there is a clear emphasis on "the Naval set" as hard-working, good-hearted people who deserve a higher place in society. By downplaying Austen's admiration of people like the Crofts and their lifestyle, this message is lost.

I understand that in order to turn a novel into a film of only 90 minutes a lot of cutting must be done, but some of the rearranging of the plot did a great disservice to the story. I refer specifically to the "letter scene," where Anne is talking about how women love longer when all hope is lost. This was said either to Benwick (Finlay Robertson) or Harville (Joseph Mawle) -- I can't recall which, they each got so little screen time! Wentworth is supposed to overhear that, which prompts him to hope again and to write her that passionate letter! By hacking this part of the book up into two separate scenes the whole thing becomes very disjointed, and as a consequence, Wentworth's love letter seems to come out of the blue.

For all that, the ending still got to me at moments. The shot of Anne walking along the street in Bath in the rain is perfect. Her meeting Wentworth in the shop is a very private, intimate moment. They can't stop looking at each other! It's very exciting. Despite the intrusion of Mr. Elliot, Anne inviting Wentworth to the concert and pump room is her message to him that clearly says: "I'm not interested in my cousin, and I remember you…"

The other stuff after the pump room and Mr. Elliot's proposal just lost me. Wentworth sending a letter after he's left her house in a huff seems silly. There is much extraneous running around through the streets of Bath. Truly, a woman in Regency dress would have hyperventilated, twisted both ankles, and had a heart attack in the course of all that!

The lead-up to the final kiss was quite drawn out, maybe too much so. Anne tuning out Charles voice was a nice touch, but I would have liked for the camera to show Wentworth's face a bit more. All I recall is Anne's, which created the impression (as did other aspects of the film) that the affection was more on Anne's side. The aching, halting, I-want-to-kiss-you-but-I-don't-want-this-moment-to-end kiss was great though -- It seemed right for the situation, the couple having waited so long for the moment to happen.

The Bottom line: Sally Hawkin's performance was admirable, but as a whole the story didn't move me much. Wentworth showed so little emotion that it made the love story uncompelling. I think the actors were all capable, but the movie overall was disappointing. The brevity of the film and choppiness of the storyline made it too confusing for an Austen newcomer, and too frustrating for a seasoned Janeite, to enjoy properly.

---

Go to PBS' Austen Season page for info on the previously aired or upcoming films, and be sure to read their Remotely Connected blog for analysis from some great guest bloggers.