Adaptations of works by Jane Austen exude unmistakable traits and they are built on aspects such as the situation of women, family and customs as conditions of life and love desired, the perspective in this regard, romance, relationships that recover and those that are born, the courtyard or the high society environment in the rural setting.
These are imperishable stories, although the times invite us to introduce changesstrategy applied by netflix in his version of Persuasion con dakota johnsonwhich without losing its classic essence has greater lightness to be closer and ‘digestible’ in the context of platform cinema. both the movie of the director Carrie Cracker as the actresswith its natural charm and beauty (suitable for a period film), respect and convince.
The key to Netflix’s premiere treatment lies in the breaking the fourth wall and in the fact that Anne Elliot, the protagonist, speaks directly to the viewerto whom he comments the details with irony (a tone announced when at the beginning he describes his burdensome family), expresses his emotions and casts knowing glances. A formal resource that is nothing new but retains a certain freshness and works and channels the aforementioned bright spot. Although the modulation refers to the formidable postmodern gaze, the question is fortunately contained.
The proposal, which takes up the relay of incarnations like that of Roger Michell in 1995 (with Amanda Root and Ciaran Hinds) or that of Adrian Shergold in 2007 (with Sally Hawkins and Rupert Penry-Jones), shows a frustrated young woman having given up on love years ago for the man with whom she was intimate had neither position nor fortune, with all that implied in early nineteenth-century England.
In this internal context, Anne faces the implications of his unexpected reunion with Wentworth (Cosmo Jarvis, interpreter who surprised in Night), now a prestigious Navy captain. The situation brings playing with tension and all that is latent and it gets complicated when your ex fiancealso moved to see her again, is on his way to getting engaged to his younger sister’s sister-in-lawto which he is bound by a pleasant bond. Entrance of an elegant gentlemanof those so beautiful that they arouse mistrust as to their true intentions, embodied by Henry Goulding, puts the icing on the doubts and discomforts.
The storytelling, with some minor ups and downs, credits with accuracy and entertaining romantic dissertations. The productionwhere the inclusive notes of a period narrative do not go unnoticed (the secondaries of black actors), looks neat, although it shows that Cracknell never stops enjoying the cinematic possibilities and in his articulation sometimes stiffness appears. Along these lines, pretty scenes, like outdoor walks, cannot shake their luxury tv bill label.
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