- This video is brought
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for building your brand and growing your business online. Hello, my beautiful doves. My name is Mina, and today we're gonna be talking about the new Netflix adaptation of "Persuasion" and some other fun Jane Austen stuff. (ambient music) So for anyone who's out
of the loop right now, "Persuasion" was released July 15th. It stars Dakota Johnson in
the lead role as Anne Elliot, opposite Cosmo Jarvis
as the love interest, Captain Frederick Wentworth. The short summary is that Anne Wentworth had a love affair seven years ago, but Anne was persuaded, ba-dum, by friends and family
to end the relationship because Wentworth wasn't rich enough. Fast forward to the present
day and Anne's family is broke while Wentworth has
become rich after the war. They both still haven't gotten over it, and as fate would have it,
land in the same social circle. Yearning ensues. "Persuasion" was famously
Jane Austen's last novel, completed in 1816 when
Jane was 40-years-old. Jane Austen never published
the manuscript herself. Some people speculate that
she was unhappy with it and that she wanted to
keep revising it further. I read "Persuasion"
myself in my little used, secondhand bookstore copy that
has some questionable stains. Actually, it has two endings in it. It was Jane's sister, Cassandra Austen who gained ownership of
Jane's books and manuscripts after she passed away, who decided to put her
manuscript for "Persuasion" and to print along with
"Northanger Abbey" in 1817. So without further ado, let's get into it after
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purchase of a website or domain. First, a little history lesson. So we all understand how we got here. The first Jane Austen
theatrical adaptation was "Pride and Prejudice" in 1940, starring gr Greer Garson as Lizzy Bennett and Laurence Olivier as Mr. Darcy. Michael Cram credits Hollywood for being largely responsible for the resurgence of Austen
mania among American academic and popular culture. Around the time of this movie's release, MGM, which produced the movie,
they also bought the rights of the Broadway adaptation
of "Pride and Prejudice," and they didn't actually have to do this because "Pride and Prejudice"
was in the public domain, but it was all a publicity stunt to get more attention for
this movie because beforehand, no one really knew about
Jane Austen in America. Subsequently, the film was a great success and led MGM to launch its
greatest book promotion in years with no less than five popular
priced editions of the book getting into print as
a result of the film. Despite this initial push, Jane Austen didn't really
become Hollywood's forever girl until 1995 when Ang Lee's "Sense
and Sensibility" came out. That same year, we saw cinematic release for "Persuasion" and "Clueless," and the TV series "Pride
and Prejudice" on BBC. So why all these adaptations all at once? Well, some academics
thought this flock to Austen was an indication of social decline. Lionel Trilling suspected
that his students longed for a course on Austen
because through studying her, they hoped to, in some way, transcend their sad
contemporary existence. Not everyone was a fan of
this social decline theory. Andrew Higson and his book "Film England" writes that Austen adaptations were piggybacking off of the general theme of creating like costume
drama productions, as well as the rise of
the rom-com in the '90s. He notes films that
incorporated these trends such as "A Room with a
View," "Enchanted April," "Howard's End," "The Age of Innocence," "Remains of the Day," and "Little Women" had done surprisingly
well at the Box Office. Lindsay Doran also noted that filmmakers didn't believe romantic
period dramas were feasible until the '90s demonstrated that they were commercially viable. The idea of investigating romance, does it kill young girls
or make them better, is intriguing to a lot of us. And then "The Age of
Innocence" actually got made. That made it acceptable. Everybody said, "Wow,
you can get that cast and that director for that?" Since then, there's been plenty
of Jane Austen adaptations for better or for worse. Among the more unconventional
ones are "Fire Island," a gay Asian rom-com that used the framework
of "Pride and Prejudice"; "Austenland," a Regency theme park romance loosely based on "Pride and Prejudice"; "Unleashing Mr. Darcy," which is the dog show version
of "Pride and Prejudice"; And of course, how can we forget "Pride
and Prejudice and Zombies"? "Pride and Prejudice" seems to
be the most popular framework for adaptations. All of this is to say that
Jane Austen adaptations have been in the public eye for
the last 20, 30 years or so. And most of us have been exposed to one of these movies
at one point another or at least our mothers have. And I think that's probably
why a lot of people tend to be very gatekeepery
about Jane Austen. And they also usually
have that one adaptation of that one novel that
they think is better than all the rest. For me, it is "Pride and Prejudice" 2005. I don't care. I know it doesn't have Colin
Firth, stay mad about it. So when the "Persuasion"
trailer dropped some weeks ago, it was met with an unsurprising
amount of criticism. A lot of people on Twitter were
angry about how the dialogue was very clunky and modernized
and like trying to be hip. - Worse than strangers. (sighs) We're exes. - There were also a lot of
early comparisons to "Fleabag," which is a TV show that is
famous for the main character breaking the fourth wall. Breaking the fourth wall is
one of those polarizing tropes. I think it could work sometimes, but just not for "Persuasion." So "Cam," the movie, is released. And to be honest, I did
not have high expectations from looking on the trailer. I was one of those Twitter haters. In this new adaptation,
Anne Elliot is snarky. - I think I'm in your way. - Perhaps you can correct that. - She's a wino. - How would you dance to Beethoven? - Alone in my room with a bottle of red. (playful music) (Anne gasps) - [Woman] Charles. - I spend my time drinking fine wines. (ambient music) - And she has bad table manners. (child laughing) - [Man] Wentworth doesn't have a mustache. - Charles wanted to marry me first. - The Anne Elliott in the
book is this melancholy, mature young woman. She is lonely and pessimistic, but still dignified and
graceful and caring. I feel like the writers for "Persuasion" were trying to update Anne to appeal to like young
Millennials and Gen Z. And they were trying to
piggyback off of protagonist that we've seen a lot of these
days, notably, "Fleabag," Sally Rooney's protagonist, the girl from "My Year
of Rest and Relaxation." I think I've tapped into
this discourse a little bit for my Tumblr girl's coming back video, but all of these characters fall into the dissociative
feminist movement. They are sad and self-aware. Emily Klein explains the appeal and how it works in
"Persuasion" for Lithub. The dissociation that
seems part and parcel of the messy millennial
hot girl's lifestyle might be tied to a desire for control and impulse to self-narrativize, to typecast themselves before
the world does it for them. By rolling her eyes at the camera when someone insults her appearance, sharing a sideline glance with it when someone comments on her
lack of a future without a man, making a joke to it at her
own expense through tears, and winking at it when she finally ends
up in her lover's arms, this film's Anne seems
to be trying to tell us that she's not like other spinsters. - I'm not like other girls. I'm not. - The problem is Anne Elliot
is a far from hot and messy. Jane Austen even described
Anne's character herself as being almost too good for me. And to be honest, Anne is supposed to be
like the other girl. She's supposed to be relatable. She was a single woman in her late 20s, which was more taboo back
in the Regency period, and she was dealing with
the oppressive forces that these social
structures imposed on her. She essentially wasn't allowed
to marry the love of her life because he wasn't good
enough for her family. He wasn't wealthy enough, and he wasn't of high
enough rank to appease them. And this is a problem that
plagued a lot of women during the Regency period. And it was a problem that Jane Austen wanted to bring light to. Jane Austen never married by the way. And I don't know if you guys have seen the "Becoming Jane" biopic, which I have a massive soft spot for. It's like my guilty
pleasure because I know, I know Anne Hathaway's
British accent is abysmal. It's terrifying. - What value is there in an introduction when you cannot even remember my name? - But I just like, I love it because one, I love James McAvoy and
he's incredibly dreamy in this movie, especially when he reads the bird mating paragraph in the library, like you just have to watch that and then you'll be convinced
to watch this movie. - The female utters a loud, piercing cry of ecstasy. - And also because I am an
Anne Hathaway supremacist at the end of the day. She can mess up in any of
her roles and I'll still, I'll still be tuning in. (laughs) Anyway, there's a lot of
fabrications in that movie, as we all know biopics do, but it's supposed to be
based on Jane Austen's life and her rumored real-life love
affair with Irish gentleman, Tom Lefroy. And of course, Jane is no
longer in the room with us to stand up for herself,
but there are letters that people have been able to find where she talks about
her crush and infatuation on Tom Lefroy. But then, historical records show that Tom went on to marry someone else. Some romantics like to believe that it was a story of forbidden love, that Tom went on to marry someone who was more advantageous than Jane and that was the reason why he left her. We don't really know. Like we don't really know if marriage was ever in the cards for them or if it was just like a
young person's puppy love, but either way, whether
she lived it or not, I think it's pretty clear that Jane Austen was aware of the obstacles that plagued women from getting married or from getting married to
someone who they really loved. Klein thus criticizes "Persuasion" 2022. "By weaving a comedic
narrative out of a tragic one, the film undercuts Austen's goal. I think she wanted us to cry, not laugh." So the opening sequence of "Persuasion" actually reminded me a lot
of "Bridget Jones' Diary," which is a loosely modern
take on "Pride and Prejudice". It's Dakota Johnson lying down on her bed, talking about how she's thriving,
obviously, sarcastically. - [Anne] Like I said, thriving. - It's very Bridget. ♪ All by myself ♪ ♪ Anymore ♪ And here's why it works for
Bridget and not for Anne. Bridget Jones, the
character Bridget Jones, is incredibly relatable, especially for single
women of the early 2000s. Renee Zellweger even gained 30 pounds to fit the role of this normal woman struggling with diet culture. I personally have really mixed feelings about the way Bridget's weight
was referenced by the movie. And I also think it's
pretty unhealthy for actors to gain and lose weight just for roles. But what I did really like about Bridget is that she felt real. She was a woman constantly teetering between wanting a relationship and wanting to be an
empowered single woman. And even in her weepiest
hours, she was still hopeful. She had insecurities
and she was imperfect. The problem with "Persuasion" 2022 is that we don't get to feel bad for Anne. There's not a moment for us
to pause and hurt with her. All the sad scenes are just
undercut with comedy or snark. Despite breaking the fourth wall, Anne's quick quips and eye
rolls keep us at a distance to shield herself from vulnerability. - Statues would be erected. In my name in memory of Anne Elliot who suffered cosmic loss, yet really held it together
quite impressively. - I also wanna sidebar
because I know some of you are probably gonna point this out and I just wanna address it. I do not think Bridget
Jones and Elizabeth Bennet are similar at all. I do not think Bridget Jones
is a good representation of that character, but "Bridget Jones' Diary"
is a loose adaptation, once again, so it just
borrows the plot framework of "Pride and Prejudice," but it's not claiming to
be a straight retelling of the story. Bridget doesn't even have
the same name as Lizzy. So I think that if
"Persuasion" wanted to update, update the characterization
of Anne Elliot so much that she's unrecognizable, then it would've been a better choice to just go for a loose adaptation. I also didn't vibe with Dakota Johnson being cast as Anne Elliot. My issue with the casting is
that Anne is supposed to be this plain Jane kind of
character, which Dakota is not. - Oh, Dakota Johnson. - So we don't know if that's true. Maybe he was just saying that-
- Classic. - but he said that it was your kiss, so- - Yeah, duh. (laughs)
- Yeah. - And so it doesn't really make sense why the family treats her,
treats Anne and categorizes Anne as this ugly spinster because
she's clearly not one. - It is often said, if
you're a five in London, you're a 10 in Bath. Well, just think. You and Elizabeth, you'll be 13s there. (Elizabeth and Walter laughing) - You'll be at least a six Anne. - And you know, I do
get why Dakota was cast because it's all like a monetary thing at the end of the day. This is just like a problem
in Hollywood in general, where a lot of movies and TV shows will cast prominent, like it girls, actors and actresses with big names or who have parents with big names because they know that flan, flans? They know that fans will flock to whatever this actor/actress is doing, regardless of whether
that actor or actress makes sense for the role. And also because audiences
are biased towards conventionally pretty people. Actually, one of the unfair
criticisms towards 1995's "Persuasion" was that the
lead actress, Amanda Root, was not this Hollywood babe. One of the complaints was
that she lacks the charm with which even much homelier performers have been known to enchant an audience. Another critic said,
"She has pleasant eyes, but a grim mouth and a countenance that
doesn't invite speculation." Even though in the literal
book this is based on Austen characterizes Anne as, "A few years before, Anne Elliot had been a very pretty girl, but her bloom had vanished early. And as even in its height, her father had found
little to admire in her, so totally different where
her delicate features and mild dark eyes from his own. There could be nothing in
them now that she was faded and thin to excite his esteem." But you know, this isn't the first time that Hollywood has casted someone famous or tried to update the characterization of a period drama character
to fit the modern mold. Back in the first "Pride
and Prejudice" adaptation, Greer Garson's Lizzie Bennet
was snappy and reminiscent of the girls of 1930 screwball comedies. And Dianne F. Sadoff argues more recently how Keira Knightley and Anne Hathaway updated Jane Austen for
the millennial teenage girl for their roles in "Pride and Prejudice" and "Becoming Jane" respectively. She writes, "A veteran
of 'Bend it Like Beckham' and 'Pirates of the Caribbean,' Knightley brings a swashbuckler
girlfriend sex appeal and postfeminist agency
to Wright's Lizzie. Hathaway, star of 'The Devil Wears Prada' and 'The Princess Diaries,'
attributed to Jane drive, ambition, and
professional mobility." But again, for the role of Anne Elliot who's supposed to be this like
down-on-her luck singleton, it doesn't really make sense to cast a conventionally attractive it girl. I would be mad too if Dakota Johnson was cast to play Jane Eyre. There are just some roles
that require a different look. And I think when every single female role is just given to a
conventionally attractive woman who just looks like another
conventionally attractive woman who just looks like another
conventionally attractive woman in Hollywood, it's a disservice because
we're not getting the diverse and in-depth types of womanhood that exist in the real world. If Jane Austen just wanted
to write another pretty girl, Emma Woodhouse character, she would've, but she wrote Anne Elliot instead. Also, okay, we have to address this because the way that the writers tried to write comedy was very bizarre. There's just like a lot of
random anachronistic phrases that were being tossed around. - I am an empath, but how do I prioritize self
care with everyone around me constantly bidding for my attention? - He's a 10. I never trust a 10. - And I think the worst part
is that they didn't just try to make completely new dialogue, they tried to take the existing dialogue and push it through an Instagram filter. For instance, in the novel, there's a line where Anne says, "There could have never
been two hearts so open, no taste so similar, no
feeling so in unison, no countenance so beloved. Now, they were as strangers;
nay, worse than strangers for they could never become acquainted. It was a perpetual estrangement." And in the movie, it
translates to this line. - But a heartbeat ago, there were no two souls more
in rhythm than Wentworth and I. Now, we're strangers. (melancholy music) Worse than strangers, we're exes. - David Sims writes for the Atlantic, "As if 'Persuasion'
doesn't have enough faith in its own plotting, it sasses the script
for the viewer's sake, lest we grow bored by the familiar beats of the period rom-com. 'Persuasion' at times seems embarrassed by its source material or at least overeager to
spruce it up for audiences that might not be able to
handle a gentler pace." Director Carrie Cracknell
defended the choice in an interview with the New York times. "I was interested in the
slightly more modern psychology and language because it allows
us to frame the characters in a really accessible contemporary way. One of the big hopes I had for the film was to draw in a new audience to Austen and to make them feel
that they really recognize the people on screen." Feel like if "Persuasion"
wanted to go full anachronism, they should have really went for it either with like the modern
adaptation, like I mentioned, like Bridget Jones or like "Bridgerton," which went full fantasy
anachronism with the sex, the diversity, and the vibrant costumes, but still had like a Regency vibe. The world of "Persuasion" ends up being like this kind of uncanny valley because we're supposed to believe that this is a traditional Regency film, but then there's these anachronisms that just get peppered in
that pull us out of the story. Clarisse Loughrey puts it best. "Anne's pain in the novel is sharp, laced with a fear that she's
reached a point in life where she's outrun every last opportunity, most especially for love. How do you absorb all of that feeling, only to give us an Anne
who sighs performatively after she knocks a vessel
of gravy on her head and boast about dancing to
Beethoven alone in her room with a bottle of red? How would the latter even happen in an era before record players? That's what's so grim about
Netflix's 'Persuasion.' It seems to think its own audience isn't smart enough for Jane Austen." I mean, it's also just wild to me
that Anne and Wentworth in the Netflix "Persuasion" try to like DTR, define the
relationship multiple times when that never happens in the novel because most of the
novel is them just like silently pining for each other. But it's like as if the
writers didn't believe we would understand the drama between them if they were silent. So they just had to keep
getting into these weird conversations that just
felt very anachronistic and honestly just uncomfortable. So let's address the costumes. They were pretty unremarkable. Costume designer, Marianne
Agertoft, told Fashionista that she researched the
time period heavily, looking at paintings and fashion plates. And then she combines that
with more modern images and photographs to illustrate
characters and attitude. Apparently her three 20th century icons that she felt represented Anne's spirit were Patti Smith, Debbie
Harry, and Audrey Hepburn. And in the interview, she refers to this photo of
Patti Smith in a men's shirt with a jacket tossed over her shoulder, which I guess is the
inspiration for why Anne Elliott was wearing men's shirts in the movie, and men's front-fastening drawers. In general, I think it's
such an overdone trope to have the main character
wearing men's clothes to show how she is different
and more progressive because, well, one, in reality, that would just never be the case because she would be ostracized
heavily for doing that, but also like you don't need
to be wearing men's clothes to show that you're progressive. Waistlines in the movie were also lowered, which I mean, okay. So I cut "Pride and Prejudice" some slack because I thought the
dresses were really nice, and Joe Wright did say,
like on the record, he admitted it straight that
he thought empire waist dresses were ugly. And I kind of agree, (chuckles) which is why I asked Emma to keep the waistline for this
dress like a little bit lower than what would've been historically accurate for the time period because I just, I don't
like the empire waist, so I will cut "Persuasion"
some slack for this one. I also do like that the other Elliots who are described as quite
vain and fashion forward wear dresses that have that higher waist. I do like that Anne wears
a lot of blues and organza, but I actually don't think
it makes as much sense for the way they characterized
her in this movie. Because when I think of blues, I think of that melancholiness
and that sensitivity that characterizes the real Anne Elliot. But this Anne is pretty
spunky and outdoorsy and likes to get down and dirty. Also, I really hate how she
wears black because girl, that is mourning attire. Mourning with a U, post-funeral attire. I mean, I think it was
like a good decision to try to put her in grays
because if I dressed Anne Elliot, I would have her in like probably
deeper jewel tones as well because the fashionable color
palette for the Regency period was pastel and light colors. But I think with where
Anne is at in her life, it would make sense for her
to subconsciously maybe, age herself. But black, black is not the way to go and dark gray isn't either because it's like basically
black at that point. I also hated this beret
moment that just makes Anne look like a moderately 1910s
French girl influencer. I've also never seen a Regency dress that has this button-up collar. I can't believe I'm saying this, but I think that if they really wanted Anne to have this like more
masculine, more studious vibe, then they could have done
what "Bridgerton" did for Eloise, which is have her in this
kind of like schemy set with a jabot detail. And that would've been a
little bit more accurate. This coat that Anne wears in lime also literally just looks
like a modern-day trench coat and it probably doesn't help that Anne has a 2010 side bang hairstyle and a bold lip throughout the whole movie to tie the chaos altogether. Cracknell told the New York Times, "We really tried to honor the shape in essence of the Regency form, but simplify and pull
away additional detail. Sometimes, in watching period films, there's a lot between me and the person. To release that and find an aesthetic that has less of the trappings
of the period felt freeing." I don't know, I feel like when there's
too much modernization, that gets in between me and
my ability to enjoy the story. Like for instance, I really
like "Peaky Blinders," but the entire first
season where the main girl looks like a 2010 fashion blogger, anytime she was on screen, I felt like my brain was short-circuiting. And in "Persuasion's" case, I don't even feel like the costumes were deliberately trying to modernize the dress of the time period. Like I think Maria Antoinette
did a really good job of keeping that silhouette
of the time period by introducing these bold
colors that wouldn't be worn. For "Persuasion," I felt like they were just
trying to find a happy medium between Regency attire and
modern-day silhouettes. And the end result was just kind of like weird and lazy-looking. Okay, so quickly, I do wanna
talk about 2020s "Emma" because "Emma" was everything that "Persuasion" could have been. I love "Emma" so much. I think the visuals and
aesthetics are perfect. The costumes are accurate
while still being fun. And I think it's probably
like the best adaptation. It's not my favorite, but I
think it is the best adaptation of a Jane Austen novel. And I love that "Emma"
shows how accurate costuming and bonnets can be fun and playful. It doesn't have to look
like a stuffy BBC drama. And most importantly, you
can tell Autumn de Wilde has read "Emma" and that she likes "Emma" and that she understands "Emma" and she understands what her
audience, who her audience is. And don't get me wrong, it's
not like a completely accurate straight book-to-film adaptation. There are creative liberties involved. For example, the movie really emphasized the strength of Emma and
Harriet's friendship, which is a lot weaker in the novel. And when Mr. Knightley
proposes to Emma in the end, we finally see her crack
from her visual perfection when her nose bleeds. This wasn't in the novel, but
as Inger S. Brodey writes, "The proposal is the
moment when we readers most crave sincerity and
direct expression from Emma." And what is more inhuman and
perfect than a nose bleed? Emma is also subtly modernized. Mr. Knightley is given more
character and humanity. In the '90s version, Mr.
Knightley is very uptight, but in this version, we
see him throwing tantrums, being stripped nude, and crying. Autumn to Wilde explain
this choice to W Magazine. "Mr. Knightley is going to be doing a lot of mansplaining for the movie. Lots of bossing around, lots of 'I'm, the moral
compass, I know best,' and most of the time, he kind
of does because he's older and more mature and has
better human instincts. And so because of that and
knowing that Mr. Knightley has often been seen as
the type of character with a rod up his ass, I really felt like I wanted
to see the human man, the vulnerable man
underneath all of the armor." All these choices were
really well thought out. You could say that Mr.
Knightley's nude moment was appealing to our
modern perverted enjoyment like in "Bridgerton," but
that's only the first layer. The real genius of that
is that by exposing flesh, de Wilde is exposing character,
humanity, and vulnerability in a way that's very potent
for modern audiences. In the 21st century, what
we crave is depthness in our male of interest. We want to see them crying, and we want to see them
stripped down emotionally. Contrast all this with "Persuasion," was just hands out modernity on a platter in the form of SparkNotes' buzzwords without any layers whatsoever. - He's a 10. - There's also this element of sincerity that's missing in "Persuasion," but is something that is necessary for any good Austen adaptation. David Sims writes, "'Clueless'
may indulge crackling quips that wouldn't make sense anytime
but in the summer of 1995, but it's also a candid
tale of a girl growing up and embarking on the first
mature relationship of her life. Other successful Emmas, such as Douglas McGrath's 1996
version with Gwynneth Paltrow and Autumn de Wilde's 2020
version with Anya Taylor Joy have a similar grasp on
their heroine's development from smarmy gossip to
thoughtful friend and companion. Ang Lee's 'Sense and Sensibility,' yet another wonderful
1995 Austen adaptation, understands the deep family
bonds driving the drama forward. By contrast, 'Persuasion' seems to think it's best strength is its wild subversion of the author's steady narration." So in the end, this is just
my opinion on "Persuasion." Don't get me wrong. I don't think it's the worst Jane Austen adaptation out there. My money is on "Unleashing Mr.
Darcy," which I haven't seen, but if anyone has, please
weigh in, I just have a feeling that it's probably worse
than this "Persuasion." - [Announcer] He's got too much pride. - In my good opinion,
once lost is lost forever. - [Announcer] She might
be a little prejudice. - I have never met a more
maddening human being. - [Announcer] A classic love
story with a modern twist. - I don't think we're ever
gonna stop adapting Jane Austen, and we're gonna get some really
great movies like "Emma," and we're going to get
some pretty bad ones too. Spoiler alert, apparently, Ron Bass, one of the writers for "Persuasion," is working on similar updates
for "Pride and Prejudice" and "Sense and Sensibility." I also think it's funny that
he had to say in an interview, "I promise you that
everyone involved in this adores Jane Austen and adores her work. Like if you have to make a
public statement saying that, then I think something fishy is going on in the writer's room, I fear. Regardless, I don't think
this is going to signal any kind of permanent
downfall of Jane Austen. If anything, I am really excited that people are talking about Jane Austen, and that's something
that we can celebrate. - Hello? Let's celebrate that. - Yeah, I wanna thank you all for sticking around for this long and listening to me rant about this topic. If you watch the "Persuasion" adaptation, please let me know your thoughts. If you have a favorite
Jane Austen adaptation, I would love to hear what that is. And yeah, I hope you have
a lovely rest of your day, and I'll see you next time. Bye.
