Persuasion

I understand some people didn't understand the choice to break the fourth wall in this adaptation. This was a bold choice as British period adaptations are renowned for their conservative subject matter and are commensurately conservative in the following of established conventions in their production. I can imagine some of my fellow British folk were outraged. I for one felt it worked to help the viewer align with Anne Elliot, Austen's most sympathetic heroine who is often browbeaten and left behind. The main merits of this version are twofold. First, in that Sally Hawkins is just absolutely perfect cast as Anne. She elicits so much sympathy and is so endearing. And second, that of the three adaptations available to us so far, this is the most engaging and modern in style and production value. It is quite short, though the novel is a short one too. But perhaps would have been closer to great if it padded things outa bit more.

I was swept up by this brilliant adaptation from second one, when a young woman looked straight at me with melancholic eyes in an extreme close up. I was engaged, I was on her side and watched, utterly spellbound, as her story unravelled.

A clever script manages, with all the cuts and changes which are invariably part of all adaptations, to distill the spirit of Jane Austen's novel unerringly. Wonderful leads (Rupert Penry-Jones is a warm-hearted, dashing Wentworth and Sally Hawkins is a delightfully sweet tempered Anne Elliot) and an outstanding supporting cast breathe life and immediacy into the plot. Creative film making ideas give the production a fresh face and make for memorable, visually gorgeous film moments. The pacing is swift but never hurried. And last but not least, I loved the musical score!

Watching this sent me walking on cloud 9 for days. I have watched it several times since and am still discovering new marvels because there are many levels to explore in this gem. Don't miss it!

I prefer this version of Persuasion to the 1995 Amanda Root/Ciaran Hinds one.

To respond to the previous comment, I agree that the hand-held camera at the beginning was dizzying.

I thoroughly enjoyed the numerous close-ups on both Sally Hawkins' and Rupert Penry-Jones' faces. Anne Elliot and Frederick Wentworth are characters with rich inner lives. I felt that those feelings/thoughts were amply conveyed in their faces.

As far as being a consummate Jane Austen leading man, I think that Rupert Penry-Jones' Captain Wentworth should be thought to rival the Fitzwilliam Darcy of Colin Firth in 1995.

I believe that Anne's cousin, Mr. Elliot, is meant to be more charismatic than Captain Wentworth. Elliot is a chameleon, whereas Wentworth is more reserved.

I agree that the chemistry between Amanda Root and Ciaran Hinds is better, but only just. Sally Hawkins and Rupert Penry-Jones came across as younger, so perhaps the history they convey is a simpler one.

I prefer Corin Redgrave's playing of Sir Walter Elliot in the 1995 version. It is delightfully foppish.

I believe that 1995 is a better film, but I prefer 2007 for the depth of performance I get from the two main characters, Sally Hawkins as Anne Elliot and Rupert Penry-Jones as Captain Frederick Wentworth.

Not the story. This film.

"Persuasion" is my favorite book in the world, and this adaptation has very little in common with it. It's hard to decide where to begin when listing what's wrong with this film, but I will try and say that the absolute worst thing is changing the constancy conversation. In the book, this conversation is between Anne and Harville; it takes place in Bath (towards the end of the story); Wentworth hears it. But, for some bizarre reason, the writers of this film places the conversation in the middle of the story (in Lyme); it's between Anne and Benwick, and Wentworth never hears it.

If he never hears the conversation, then what is the impetus for him to write his letter? None, that's what. They butchered what is arguably the most beautiful love letter in English literature and I cannot figure out why. Instead, they have Anne run. And run. And then run some more. And they have Mrs. Smith run too. Yes, the same Mrs. Smith who's supposed to be an invalid. When I saw this film in a public setting, people laughed, and that's just wrong.

I desperately wanted to love this film, but I just couldn't. Yes, RPJ is eye-candy, but his good looks are just not enough to save this film from being the wretched mess that it is. Don't waste your time or your money on this one.

This current adaptation of Austen's mature novel is very endearing. Rupert Penry-Jones'adept utilization of facial expressions reveal a man who is deeply wounded and angry with good reason, yet subconsciously conflicted. His Captain Wentworth doesn't know if, and how he should proceed. He deftly portrays a spurned lover that is compelled to look back in spite of himself. Sally Hawkins expertly portrays a gentle introvert who hides a long held affection in some compartment of herself. She functions well enough in life, but she does not ,and cannot flourish, and wonders if she ever will embrace abundant happiness......The staging is accurate and the costumes lovely. Kudos to Anthony Head; he flawlessly captures Sir Walter Elliot, the most conceited, clueless genteel idiot who was ever most ingeniously conceived in the mind of a true observer of human nature and character-Jane Austen. We, the viewing public, are both sobered and amused.....