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The Persuasion of Netflix is a total catastrophe.
28 Jul 2022

The Persuasion of Netflix is a total catastrophe.

Post by drclixadmin

(L to R) Hardy Yusuf as Charles Musgrove, Jake Same as James Musgrove, and Dakota Johnson as Anne Elliot in Persuasion.

Nick Wall/Netflix

It’s difficult to quantify how awful Netflix’s Persuasion is and in how many ways.

A spoof of the hit TV shows Bridgerton Persuasion is an inferior replica. Although it attempts to emulate the sweet-coated Regency parody that Bridgerton has made popular, it’s too insecurely convinced of its own merits to bask in the fun that makes Bridgerton such a satisfying experience. It imitates Bridgerton’s witty absurdities (A five in London can be a 10 when you’re at Bath!) As if the audience is supposed to think of them as revelations, not low-quality jokes that have become more than stale.

As a showcase of Dakota Johnson, it’s a disappointing experience. Johnson’s affable screen presence was the defining factor in many bad films prior to this one; however, in the lead part Anne Elliot, she does little to ease Persuasion as it sways on its emotional pendulum that varies from dull to boring. Instead, she smiles at the camera with her finest Jim-from-The-Office grin, as if she’s saying. We’re all agreeing that this movie is charming? It’s not.

As a film adaption from Jane Austen’s Persuasion, the film is a complete disaster. The original Austen novel is terrifying in its delicacy. However, this film is funny but broad and apathetic in its emotions and has a ham-fisted characterization. It is a disaster for one of Austen’s most romantic scenes by slicing through the classic letter-writing scene until it loses the inner logic of the scene and, as a result, the emotional power.

If it is seen only as a film, Persuasion is a sloppy film. It’s boring. The romance is not there. It’s not amusing. It’s not sad. It appears to have no need to exist, and the reason why it will eventually give up is actually infuriating to all those involved.

Rating: 1 out of 5

Persuasion, written and directed by Carrie Cracknell and with a screenplay written by Ron Bass and Alice Victoria Winslow, loosely follows the story of Austen’s novel. Anne Elliot — rich, attractive, beautiful, and charming was once obsessed with poor young sailing sailor Frederick Wentworth. They were set to get married. But the family and friends of Anne convinced her that she must not be wasting her time at the age of 19 for a man with little money and no prospects, and, as a result, she broke the heart of Wentworth.

When both the film and novel are released, it’s eight years after. Anne hasn’t been able to get over Wentworth. However, she’s an old lady, content with dedicating her life to taking care of her sisters as well as the children of her sister. Wentworth, in turn, has been promoted to naval captain. He’s now well-off and reputable, seeking an intimate partner, and is still angry with Anne for ending their relationship in the manner she did. The circumstances conspired to have him stay at her sister’s house as Anne stays there as well.

Austen’s Anne responds to these situations in the same way she does to everything else and is as calm and calm as is possible and being inwardly stricken. This tension of the pressures of society Anne must navigate, and her emotional turmoil is a major factor that drives the Austen Persuasion forward, which is what makes it such a heartbreaking read.

This kind of internal division is admittedly a challenging one to portray on screen. What Cracknell and her team have come up with is certainly an original one that eliminates the entire issue.

In the Netflix series Persuasion, Anne takes on the mannerisms of the protagonist of a rom-com that was mid-tier, crying in the tub and drinking numerous glasses of red wines, crying while she stumbles over throwing gravy on her head. When she’s not weeping in the bathtub, she’s either laughing at the camera about her parents’ petty squabbles or blurting out nonsensical phrases during awkward situations. Sometimes, I get a vision that an octopus has been sucking my face, and she confides in one of her friends.

Wentworth, however, has lost the polished appeal and go-getter vigor of his comic and film counterparts. In the role of Cosmo, Jarvis Wentworth has a shy and sultry appearance. Unfocused and a bit hazy as an undefined Darcy Cyborg, but without the particularity. He has a good look, but there’s no sign of any kind to back it up.

The film is briefly reintroduced at the moment that Henry Golding arrives to play Mr. Elliot, Anne’s cousin, and Wentworth’s adversary in her quest for love. Golding is in full mustache-twirling villainy mode (although inexplicably, Cracknell has left out the part of the story where it is revealed that Mr. Elliot is actually revealed to be a villain). His appearance adds an energizing jolt to the story.

The energy of the film is absent here, the majority of which the film is completely ignorant. Persuasion is based on the assumption that its slick retro styles will bring aged Austen into a new life. The place where Austen wrote with her exquisitely tuned sense of irony and social contradiction, They were now strangers. In fact, they were more so than strangers, as they were unable to meet. It was a constant estrangement. Cracknell renders the line as a sloppy, pathetic blunder. We’re now strangers. It’s better than strangers. We’re exes. The camera then retracts to let you look at the results like this film did you a favor by helping Persuasion seem plausible even in this 21st century, just as Clueless helped make Emma seem plausible in the 20th century.

The thing is, Austen’s Persuasion is already a good fit for today’s world. (So as, for instance, do Emma an event that Clueless was aware of.) Yes, the social norms that led to Anne Elliot’s determination to cover her heartbreak have been altered. However, the emotions that are in the novel’s heart -love, longing, despair, and longing — continue to bleed strongly into the moment.

The adaptation of Emma into Clueless was successful due to its transformation of Regency fashions into a ’90s SoCal high school that is fun and humorous. Clueless didn’t have to explain Emma to a group of people who were too ignorant to understand. It was enjoying itself with its viewers.

Persuasion’s attempt to translate modern-day societal norms into Regency England seems a bit awkward and rude. It’s as if the movie believes that you’re not smart enough to comprehend Jane Austen on your own Instead, in trying to do Austen’s writing to life, it decides to give you a brief summary.

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