"PERSUASION" (1971) Review

 

"PERSUASION" (1971) Review

This adaptation of Jane Austen’s 1818 novel turned out to be the first of the old Jane Austen television adaptations that the BBC aired during the 1970s and 80s. Produced and directed by Howard Baker, and adapted by Julian Mitchell; this two-part miniseries starred Ann Firbanks and Bryan Marshall.

As many fans of Austen’s novel would know, ”PERSUASION” told the story of Anne Elliot, the middle daughter of a vain and spendthrift baronet, who finds herself reunited with her former finance, a Naval officer of lesser birth named Frederick Wentworth. Eight years before the beginning of the story, Anne’s godmother, Lady Russell, had persuaded her to reject Wentworth’s marriage proposal, citing the Naval officer’s lack of family connections and fortune. She reunites with Wentworth, during a prolonged family visit to her younger sister and brother-in-law, Mary and Charles Musgrove. And the Naval officer has managed to acquire a fortune during the Napoleonic Wars. Anne is forced to watch Wentworth woo Mary’s sister-in-law, Louisa Musgrove, while he ignores his earlier attraction to her.

Many diehard Austen fans have expressed the opinion that this adaptation of her last novel has a running time that allows for the characters to be expressed with more depth than they were in the 1995 and 2007 versions. I must admit that the miniseries’ running time of 210 minutes allowed a greater depth into Austen’s plot than the two later movies. Yet, despite the longer running time, ”PERSUASION” managed to be only a little more faithful than the other two versions. One of the plotlines that Mitchell failed to include featured the injury suffered by one of Charles Musgrove’s sons, following a fall from the tree. It was this injury that delayed Anne’s reunion with Wentworth near the beginning of the story. Fortunately, the changes or deletions that Mitchell made in his script did not bother me one whit. Especially since ”PERSUASION” turned out to be a pretty solid adaptation.

However, there were times when Mitchell was too faithful to Austen’s novel. I still have nightmares over the second scene between Anne and her old school friend, Mrs. Smith; in which the latter finally revealed the true nature of Anne’s cousin, William Elliot. That particular scene seemed to take forever. And I never understood Anne’s outrage over William’s comments about Sir Walter and Elizabeth in his old letters to Mrs. Smith's husband. He had only expressed what Anne also felt about her father and older sister. And once again, an adaptation of ”Persuasion” failed to correct the problem surrounding the William Elliot character – namely his attempt to woo and marry Anne in order to prevent Sir Walter from marry Elizabeth’s companion, Mrs. Clay, or any other women . . . and guarantee his inheritance of the Elliot baronetcy. As I had stated in my reviews of the two other ”PERSUASION” movies, William’s efforts struck me as irreverent, since there was no way he could have full control over Sir Walter’s love life. Why was it necessary to show William sneaking away with Mrs. Clay in order to elope with her? Both were grown adults who had been previously married. They were not married or engaged to anyone else. I found their clandestine behavior unnecessary. And why on earth did Mitchell include Sir Walter spouting the names and birthdates of himself and his offspring in the script’s opening scene? I do not think so. In fact, this scene merely dragged the miniseries from the outset.

The production values for ”PERSUASION” struck me as top-rate . . . to a certain extent. I have to commend Peter Phillips for his colorful production designs and Mark Hall for the miniseries’ art work. ”PERSUASION” permeated with rich colors that I found eye catching. However, I have some qualms about Esther Dean’s costumes designs. How can I put it? I found some of the costumes rather garish. And the photography for the exterior scenes struck me as . . . hmmm, unimpressive. Dull. Flat. And I had some problems with the hairstyle for the leading lady, Ann Firbank. Her hairdo seemed like a uneasy mixture of an attempt at a Regency hairstyle and an early 1970s beehive. Think I am kidding? Take a gander:



My opinion of the cast is pretty mixed. There were performances that I found impressive. Morag Hood gave a very skillful and entertaining performance as Anne Elliot's vain and emotionally needy younger sister, Mary Elliot Musgrove. Marian Spencer gave a complex, yet intelligent portrayal of Anne Elliot’s godmother and mentor, Lady Russell. I was also impressed by Valerie Gearon’s subtle performance as Anne’s vain older sister, Elizabeth Elliot. And both Richard Vernon and Rowland Davies gave colorful performances as Admiral Croft and Charles Musgrove, respectively. On the other hand, Basil Dignam got on my last nerve as the vain Sir Walter Elliot. There was nothing really wrong with his performance, but many of his scenes dragged the miniseries, due to the number of unnecessary dialogue over topics that had very little to do with the main storyline. Quite frankly, a great deal of Sir Walter's dialogue bore me senseless.

And what about the story’s two leads? Ann Firbank and Bryan Marshall gave very competent performances as the two former lovers, Anne Elliot and Frederick Wentworth. They competently expressed their characters’ intelligence and emotions. They also made the eventual reconciliation between Anne and Wentworth very believable. Unfortunately, Firbank and Marshall lacked the strong chemistry that Amanda Root and Ciarán Hinds possessed in the 1995 adaptation; or the strong chemistry that Sally Hawkins and Rupert Penry-Jones had in the 2007 film - at least until the story shifted to Lyme Regis. I never got the feeling that Firbank’s Anne and Marshall’s Wentworth were struggling to contain their emotions toward each other in the first half of the miniseries. Every now and then, Firbank utilized sad and pensive expressions, reminding me of Evangeline Lilly’s early performances on ABC’s ”LOST”. And Marshall’s Wentworth seemed too friendly with the Musgrove sisters and polite toward Anne to hint any sense of remaining passion toward her. It was not until their encounter with William Elliot at Lyme Regis that I could detect signs – at least on Wentworth’s part – of emotion toward Anne. And it was only from this point onward, especially in the production's second-half, in which Firbank and Marshall finally conveyed a very strong screen chemistry. This was especially apparent in scenes where they met at a coffeehouse in Bath and at the opera.

In the end, I have to admit that this adaptation of "PERSUASION" struck me as entertaining. I cannot deny it. Despite being the most faithful of the three known adaptations, I had originally felt that it was probably more flawed than the latter versions. Screenwriter Julian Mitchell and director Howard Baker’s close adherence to Austen’s novel did not really help it in certain parts. In doing so, the miniseries adapted some of the faults that could be found in the novel. And the miniseries' close adaptation also dragged its pacing needlessly in the first half of Part Two. But I now realize that overall, it is just as good as the 1995 and the 2007 adaptations. I take that back. I believe it is slightly better than the other adaptations. And the excellent performances by the cast, led by Ann Firbank and Bryan Marshall; along with the colorful production designs and the story’s intelligence allowed me to enjoy it in the end.