Persuasion

National Catholic Reporter, Oct 20, 1995 by Joseph Cunneen

"Persuasion" (Sony Pictures) is a lot easier to like than "Clockers" because it is less depressing. But don't go looking for easy escapism. This is a fine, faithful adaptation of Jane Austen's last novel, far more interested in ethical motives than in the handsome exteriors dear to Merchant-Ivory fans. The fact that it's a genuine love story won't necessarily make it a hit at the malls. Its leading couple, Anne Eliot (Amanda Root) and Frederick Wentworth (Ciaran Hinds), are rewarded for constancy and patience, virtues not easily marketed these days.

Anne and Frederick had fallen in love eight years ago, but a motherless and inexperienced Anne had allowed the well-meaning family adviser, Lady Russell (Susan Fleetwood), to persuade her to turn down the then-impoverished sailor as "a man who has nothing but himself to recommend him." As the film open Anne's father, Sir Walter (Colin Re grave), is reluctantly consenting to rent his country estate to Admiral Croft, who is also Wentworth's brother-in-law. Wentworth is now a captain who has made fortune during the Napoleonic wars.

Director Roger Mitchell astutely leave Anne in the background in the earl scenes. He shows similar good taste in not casting a glamorous star in the part and eve, lets Amanda Root look mousy at the outset. Much of our pleasure is in seeing her patience and intelligence finally rewarded, and even her looks take on an extra glow before the end.

Anne is the still point from which we can appreciate the satire with which Austen looks at the vanity and uselessness of the old landed gentry in the post-Napoleonic era. Austen is merciless toward Anne's family. Her sympathies are with the navy, with which she had family connections. If I weren't afraid of spoiling the movie for you, I'd even say it endorses family values. At Bath, to which the Eliots have retired, the social commentary is even more inclusive. Anne's loyalty to a former schoolmate who has fallen to the bottom of the social ladder becomes an important device in resolving the plot.

Finally, the Passionately restrained mutual observations of Anne and Captain Wentworth are brought to a climax after the latter makes a manly gesture of generosity on the assumption Anne has become engaged to another. Ciaran Hands, without any flowery speeches to assist him, manages to convey that he is heartsick. As for Amanda Root, we've learned to watch her noticing others, to admire - as Austen wants us to - her reticence and quiet competence.

Even though we know Mitchell is ignoring Austen here and it couldn't have happened in Bath, we've waited so long we don't even much mind when the captain kisses Anne in public.