“Persuasion” (2022) is the Netflix adaptation of Jane Austen’s last novel about a spinster, Anne Elliot (Dakota Johnson), who turned down a marriage proposal from Frederick Wentworth (Cosmo Jarvis) after her family discouraged her because of his lack of title and wealth. Years later, he returns an eligible bachelor after a successful Naval career during the Napoleonic wars, but she is still brokenhearted and the least favored daughter. She has not moved on, but has he?

My favorite adaptation of this novel is “Persuasion” (1995). I have no idea if it was because I was younger and into the genre, or if it was genuinely good. When you are younger, it is easier to believe in romantic concepts and to suspend disbelief. I have never read the book so I have no idea if it was faithful. Amanda Root as Anne was mostly silent, and it felt credible when she was overlooked, and that she may be doomed to oblivion, a life without a man and with silly, mean people surrounding her. Ciaran Hinds as Wentworth was inscrutable, which heightened the tension of whether they would end up together. They seemed perfectly suited because their somberness and reticence were a match. Fair or not, I will probably measure every adaptation of this novel to the 1995 version. 

I have no issue with adaptations departing from the original source material if it stays faithful in spirit. Netflix’s version is not supposed to be a faithful adaptation, but if 1995 was faithful in spirit and deed, Netflix does neither. It aims for a nineteenth century aesthetic with a present-day sense of humor. The filmmakers seem to appreciate Austen’s dress, estates and leisure with an injection of all other contemporary aspects of “Bridget Jones’s Diary” (2001) except the weight loss, but especially the drinking. It flirts with the contradiction of poking fun at the upper class’ superficiality while reveling in its trappings. Anne stands out because she is self-deprecating, knowledgeable, and analytical as reflected when she breaks the fourth wall to feed exposition to the viewers, her confidantes. The film deliberately dresses her in more modern designs and colors closer to the early twentieth century. Think a period rom com with lots of teen angst ad. 

While I love Johnson and think that she gave a terrific performance, there is no reality where Johnson can be seen as single without the word eligible following swiftly behind. When people ridicule Anne, it comes across as jealousy or delusional levels of self-admiration for characters to believe they are more attractive than Johnson. Johnson reacts with wry smiles of amusement which silently boomerang arrows of insults back to the source except for her father, Sir Walter Elliot (Richard E. Grant in a bit of perfect casting), who lands a single blow. The casting changes the story and dialogue’s meaning. Anne gets clumsy when flustered, and Johnson is game, but no amount of sauce or jam on her face or inappropriate non sequiturs diminish her magnetism. It just makes her more charming. There is no tension because Johnson as the protagonist may be heartbroken, but clearly is destined to live her best life.

“Persuasion” also felt dissonant because the actors and the characters are in their twenties or older, but their emotions are on their sleeves and their outbursts felt more suitable for high school teens. Anne is often shown crying naked in her bath, crying into her pillow, or swigging straight from a wine bottle. Wentworth is also visibly flummoxed at his reunion with Anne. It makes the film dull since their reconciliation seems inevitable despite their incessant brooding. There is little world building for any of the supporting characters other than Mary (Mia McKenna-Bruce), Anne’s little sister. Austen’s characters are a microcosm of society, a slice of life, but in this version, they just exist to be mocked or to admire Anne. For instance, the loftier Elliot cousins serve as the butt of a joke and the Musgroves sisters just act as Anne fan girls, especially Henrietta (Izuka Hoyle) whose love interest, Henry Hayter (Charlie MacRae-Tod), remains off screen until the denouement. The Harvilles and Captain Benwick are forgettable footnotes that only serve to bring Anne closer to her happy ending, not examples of her good character and lack of class prejudice.

Only the appearance of Mr. Elliot (Henry Golding), the heir to Anne’s father’s estate, picks up the pace of “Persuasion” and seems on the same level of this incarnation of Anne. If Johnson is all smoldering sex appeal, Golding’s Elliot breezes in and serves the same energy. He makes it easy to forget that Wentworth is the one that we are rooting for, and that Mr. Elliot is inappropriate. Johnson and Golding flirting are the main asset of this version. Wentworth brings in clouds, but Mr. Elliot brushes them away. I do not recall another version making Mr. Elliot seem as appealing a prosect. Golding nails the role of the bad guy whom anyone would choose despite their mind screaming no.  The film makes him more respectable and earnest than his original rakish character. While many people note that the race bending casting makes the film anachronistic and incorrectly credit Shonda Rhimes’ “Bridgerton” for the choice, it is the race bending that saves the film from being a complete bore thanks not only to getting Golding as an aspiring baronet, but getting some double meaning to the original dialogue. 

The British Film Academy implemented diversity standards to incentivize filmmakers’ imagination and while it has not solved the problem of lack of diversity, it is a step that improves most productions. Jarvis appeared as a love interest in one of the best examples of how this type of casting increases intersectionality, “Lady Macbeth” (2016).  Jarvis makes subtle attempts to inject some life into Wentworth beyond yearning, brooding and masculinity, but he is only interesting in the bookends basking in Anne’s scrutiny.

I was most irritated with minor details in “Persuasion.” Whenever the location changes, it is announced in bold letters that fill the screen except when Anne goes to Bath to rejoin her father and older sister. Why? Is it because Bath is not as impressive as the other locations or just an oversight? Also saving whales instead of killing them for their blubber is the one unforgiveable anachronism. Sympathy for animals has barely taken a foothold now, and in the past, they barely liked children and used them to clean chimneys.

Still movies are saved by a solid happy ending and leaving on a high note. “Persuasion” ends with a healthy mix of humor and melodrama with the haunting Birdy’s “Quietly Yours” ushering us out. It is almost enough to make viewers forget how underwhelming most of the movie was despite the cast’s best efforts and high production values. Almost. 

If you have never seen an adaptation of Persuasion, and you are still young enough to enjoy rom coms, then you will definitely enjoy Netflix’s efforts otherwise only ardent fans of the cast will not mind how painful and deliberate the proceedings can feel.