Mom (Dakota Johnson) is the middle of the Elliot brothers. His once-rich father is on the verge of ruin. He is also the only person in the entire trio who did not marry, as he could not forget his former love. Seven years ago, the girl was engaged to Frederick Wentworth, a naval officer. (Cosmo Jarvis by Lady Macbeth by William Allroyd), but then she was persuaded to part with him: the social and financial situation of the groom did not promise a cloudless future. Having already risen to the rank of captain, Ann and Frederick meet again and have a chance to make things right.
The “why” seems to get it from all sides: on Twitter, the picture is scolded for the poverty of language, in critical reviews – for the poverty of meanings. In principle, the claims are understandable, but seem overblown. Jane Austen’s last completed novel has been filmed several times rigidly enough to satisfy a conservative-minded audience, and these previous adaptations will no longer be fully withdrawn from access: the dissatisfied still have an opportunity to be consoled. themselves with the 1995 and 2007 films.
In addition, the new Persuasion, which jokingly ignores some of the signs of the Regency era and places Anne Elliot’s story somewhere in the Bridgertons and Dickinson area, also takes into account Phoebe Waller-Bridge’s experience. Fleabag (seemingly this comparison will hang forever like the sword of Damocles in projects where the main characters break the fourth wall) are in some places extremely witty adaptations of the source material.
In any case, there is reason to believe that if Jane Austen were working today, she would have written with the same restraint and frugality as Sally Rooney. (“Normal people”), sometimes rebuked in exactly the same vein. And which one has a pass “Now they have become complete strangers, and worse than strangers, because they were never allowed to be any closer. Eternal alienation awaited them.” also, most likely, it would shrink “We are strangers now. Even worse than strangers. we are old”. So a quick (forty-hour) retelling of “Arguments” in the spirit of a hilarious Twitter thread isn’t the ugliest thing that can happen to this novel, in general. Let’s say it was “Clueless” with “Emma” 30 years ago – and apparently everyone survived.
Another thing is that an initially rather bleak work with a prominent satirical component in the “Netflix” version has morphed into an ironic rom-com that doesn’t go far beyond the genre, so that annoyances about meaningful primitiveness seem less groundless. But here, more so, the sincerity of those involved plays against him: Not to mention Austin in the credits, handcuffs against Arguments of the Mind, many times less thought required.
This, of course, is not a perfect film, inferior in almost all respects, for example, to last year’s “Emma”. With Anya Taylor-Joy – another brash film adaptation of Austen and, incidentally, in the director’s chair with a socialite (director of “Emma”), Autumn de Wilde would photograph and shoot the clips, and behind Carrie Cracknell – several Royal National Theatre’ performances, including Terence Roettigen’s The Deep Blue Sea). But it’s just that an unpretentious costume rom-com—moderately boring, moderately heartwarming—tape feels pretty confident. How Cosmo Jarvis can inconsolably suffer for seven years for an idol who was raised as his hero is questionable (he already has taste and color here), but Dakota Johnson, who cynically stares at the camera, turns out to be possible. to persuade it.