Review: 'Persuasion' a Delightful Jane Austen Adaptation

Period-piece romances remain popular media. 200 years after publication, Jane Austen's novels still captivate audiences.

Case in point: "Persuasion," starring Dakota Johnson and Cosmo Jarvis, is a charming, wry, playful film adaptation of Jane Austen's 1818 novel of the same name. Directed by Carrie Cracknell in her directorial film debut (her background resides in directing theater productions), this adaptation is written by Ron Bass and Alice Victoria Winslow.

"Persuasion" follows poetry-reciting, heartbroken protagonist Anne Elliot (Dakota Johnson). Eight years earlier, she ended her engagement to the love of her life, Frederick Wentworth (Cosmo Jarvis). Anne heeded the advice of her deceased mother's best friend, Lady Russell (Nikki Amuka-Bird). Wanting to ensure her well-being – as "marriage is transactional for women" – she persuaded Anne not to marry Frederick, who possessed no wealth nor title.

Anne lives with her vain father (Richard E. Grant – perpetually magnetic and hilarious in every role; I desperately wish he appeared in this film more) and inconsiderate sister Elizabeth (Yolanda Kettle). She frequently visits her married, narcissistic sister Mary Musgrove (Mia McKenna-Bruce). Anne spends her days reading, drinking wine, and lamenting the loss of Frederick.

When Frederick unexpectedly returns into Anne's life, unforeseen circumstances ensue.

An interesting stylistic choice, Anne frequently breaks the fourth wall – evocative of "Ferris Bueller's Day Off," "Fleabag," and "The Office" – giving sly looks to the camera and addressing the audience with her internal monologue, which includes commentary on her family.

Anne makes snarky comments to the audience about her father and sisters. Yet, Anne remains loving, kind, and caretaking, especially to her brother-in-law, Charles Musgrove (Ben Bailey Smith), sisters-in-law Louisa Musgrove (Nia Towle) and Henrietta Musgrove (Izuka Hoyle), and her young nephews. She loves animals, particularly her rabbit, which she often gingerly carries. Comfortable in her own skin, Anne embodies a certain world weariness that comes with loss. I appreciated seeing a slightly older Austen heroine.

Dakota Johnson's comedic moments are charming, but not necessarily as humorous as intended. Rather, she works best exuding quiet, bittersweet melancholy. The visuals match the moods: Some scenes in the film radiate a beautiful painterly quality in their framing or golden glimmering light.

Anne and Frederick don't share much chemistry. Their reunion should smolder, feeling incandescent. While Anne tries to mask her feelings and retain her composure, their reconnection feels muted, too subdued. Even so, Dakota Johnson effectively conveys Anne's prolonged pining and yearning for Frederick.

While emanating a delightfully playful tone, the film doesn't fully capture Jane Austen's sharp wit and her shrewd, keen insights. Although, the film does infuse some explicit observations on gender: Anne corrects suitor William Elliot (Henry Golding) when he objectifies her by calling her an enchanting "creature"; Louisa thinks it's a big deal that Wentworth "actually listens" to women; and Anne questions the ubiquity of assuming that women only desire marriage. I appreciate the film's message of listening to your heart and living life as you wish.

"Persuasion" rests on Dakota Johnson's shoulders. She anchors the period-piece romance with her wonderful, winsome performance of a compelling, insightful character.

While not nearly as clever, visually striking, or emotionally powerful as other Austen adaptations – like Joe Wright's "Pride & Prejudice," Autumn de Wilde's "Emma," or even other recent period romances, like Emma Holly Jones's "Mr. Malcolm's List" – I enjoyed spending time with these characters, getting lost in this world.

"Persuasion" streams on Netflix on Friday, July 15, 2022.