Dakota Johnson

Cosmo Jarvis

Henry Golding

Richard E. Grant

Nikki Amuka-Bird

Ben Bailey Smith

Mia McKenna-Bruce

Izuka Hoyle

Nia Towle

Edward Bluemel

Lydia Rose Bewley

Yolanda Kettle

Jordan Long

Simon Paisley Day

Agni Scott

Stewart Scudamore

Eve Matheson

Gary Beadle

Afolabi Alli

Jenny Rainsford

Kate Ashcroft

Ali Ariaie

Janet Henfrey

Sophie Brooke

Jane Austen

Carrie Cracknell

Andrew Lazar

Christina Weiss Lurie

Elizabeth Cantillon

Michael S. Constable

David Fliegel

Ronald Bass

Alice Victoria Winslow

Pani Scott

Dixie Chassay

John Paul Kelly

Keith Slote

Faye Brothers

Marianne Agertoft

Grace Averbuch

Dillon Bennett

Matt Waites

Des Anwar

Joe Anderson

Lucy Jordan

Stuart Earl

Karen Hartley-Thomas

Ellis Mckenna-Bruce

Erin Stoffer

Romance

Drama

Comedy

Persuasion

Bisous Pictures

Mad Chance

Fourth & Twenty Eight Films

United Kingdom

United States of America

English

based on novel or book

england

marriage

female protagonist

period drama

Manuel São Bento

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"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

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 (“furious purists” - say that three times quickly). The story has been updated — 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.

Don’t 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 don’t share it.

The group I don’t sympathize with are the racists, aka the haters. They sometimes try to shield their racism by talking about “woke” culture, or whatever. But the simple fact that they can’t see past the race and skin color to the individuals’ 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 doesn’t offend them equally? Big surprise. It is a fine entry in the Austen adaptation collection. Do watch it without prejudice if you can.

Persuasion( 2022)

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A review by Manuel São Bento

Written by Manuel São Bento on Wed Jul 20 2022

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