Is Jane Austen just a feeling now?

the new Persuade He sheds almost everything basic about his physical source but maintains country walks and fashion.
Photo: Nick Wall/Netflix

As best I can tell, the last big moment for Jane Austen’s live adaptation was 2007, when ITV aired three new adaptations made for TV alongside Kate Beckinsale. whatever, the decade-old British network version that unfortunately had its first release a few months after the catchy Gwyneth Paltrow. These 2007 adaptations were meant to feel young and fresh with stars like Billy Piper and still relatively unknown Felicity Jones, and included a few touches that pissed off traditionalists. Watchman He joked about how low necklines work Mansfield Park It had “the influence of a group of Bratz brides in Empire Lines”, while the scene of Jane Etis From Sally Hawkins runs a style rom-com through the streets of Bath at the height Persuade. However, these films were intended to convey a copy of what was on the page more or less as it appeared in the period when the books were being made.

This is not a bold approach, but one that the next fifteen years have made seem completely outlandish. The Jane Austen Industrial Complex has developed an overwhelming preference for modernization—either by setting stories in the present day or by giving contemporary twists (like, say, zombies) to ancient texts. Earlier this summer, there was Joel Kim poster fire islandwhich uses a framework Pride and prejudice For a gay romantic comedy with mixed but interesting results. Pride and prejudice It remains preferred to bring it to the screen. Written by Tracy MacMillan based on the lifetime movie set in Atlanta and with an all-black crew, Keri Russell had Elizabeth Bennett’s romance at a Regency theme park in Austinlandand Hallmark’s Unleash Mr. Darcy The story was transferred to the world of dog shows. in another place, Feeling and sensitivity transferred to spasOdors and Allergiesand the Mexican American community in East Los AngelesFrom Barda to Nada); whateverto the upper crust of Delhi (ayishah). And to be honest, there Modern Pride and Prejudice And the modern persuasion.

Anyone who grew up loving ignorant You can understand the lure of Austen’s attraction to the present day, even if her satirical feature tends to get lost in translation, leaving behind only a misunderstanding of the intent and ultimate formation of traditional courtship comedy. But I can’t help but feel that the inevitable end point of all this reframing of context is something like new Persuade which debuted on Netflix this month, and stars Dakota Johnson as Ann Elliot who exchanges sly looks with the audience and has much in common with Austin’s trick-or-treat rom-com heroine. Persuade Not a contemporary adaptation, but the characters sometimes spoil it with lines like “It’s often said that if you’re five in London, you’re in Bath ten.” If the movie comes from theater director Carrie Cracknell and screenwriters Ron Bass (My dear friend’s wedding) and Alice Victoria Winslow, to compare its historical location with outdated slang, this would have at least been a choice. Instead, she immerses herself in the ins and outs, reading her dialogue as a clumsily simplified version of the classics for younger readers.

In the book, when Anne reunites with her ex-fiancé, Captain Frederick Wentworth (Cosmo Jarvis), she is pressured by her family to abandon him seven years ago but still loves him, Austen writes, “They are strangers now; no, worse than strangers, because they don’t They could never get to know each other.” In the movie, Johnson turns to the camera and says “now we’re worse than before – we’re friends.” In the book, the rise of Frederick’s fortunes coincides with the fall of the Elliots, giving a bitter irony to the reasons behind Anne’s choice to break her lover’s heart. In the film, family friend Lady Russell (Nikki Amuka Bird) tells Ann emphatically that “marriage is a bargain for women.” Persuade The film is about a woman who has done something she deeply regrets and feels her life is passing by when she is 27 years old and on the verge of spinsterhood (her father’s absurd judgment that her “flowers” have “fade early””), finds that, despite all hope, she has Another chance at the love you lost. But on screen, those seven years are presented as a pleasant lull, with Johnson—who was never anything other than radioactive—declared to be “single and thriving” due to a shot of her character getting drunk and crying in the bathroom.

Austin is not sacred. There is no inherent virtue in being as faithful to her books as possible, and trying to do so still requires a degree of guesswork about artistic intent as well as leaving things out for the sake of runtime. But Persuade So he lacks interest in the spirit of his source material so much that you’re left wondering why she bothered with it at all. Austin is reduced to mere ambiance—to headdresses, country walks, piano sessions in the saloon, and a vague sense of a stifling British accent. Not wanting to have sex is frustrating (what is Bridgeton If not those same feelings in Austin combined with absurd, unapologetic?). What is bothering is the removal of the urgency behind all these traditions and polite maneuvers involving social standing, and the desperate need to fall (of course) in sincere love with someone who by chance possesses the wealth necessary to support his family. Persuade It turns everything into a costume centered around a brave protagonist who looks like she’ll bounce back if things don’t work out with Frederick, perhaps after a yoga retreat in Turks and Caicos to find herself on vacation.

It’s not hard to guess why there’s been so much modern Austin lately. Fashion dramas are often expensive, and for a long time considered closed off from any non-white actors, the past is treated as an airtight space. But the long-standing embrace of color-blind casting and, better yet, color-conscious casting in these productions has exposed the futility and exclusion of these old assumptions. Mr. Malcolm’s Lista freshly frothy charming from director Emma Holly Jones, starring Freida Pinto, Sope Dirisu, and Zawe Ashton and managing to be more Austin-like in her sensibility than Persuade Estimated that the emotional restraint of her characters does not make them non-reactive. Meanwhile, Autumn de Wilde is clever whatever. It gave an Instagram aesthetic to what was considered a fairly straightforward retelling of the book. Like any author whose work remains popular, Austen’s writings are destined to be reinterpreted and re-examined over time. When reduced to mere ball gowns and empire-waisted dresses, it’s less interesting.

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