One of the great qualities of iconic writers is that their work is not only fertile ground for interpretation, but can also lend themselves to a number of captivating works, whereby several artists have taken it upon themselves to retell a classic work of literature in a way that suits their particular style. Few writers have benefitted from this more than Jane Austen, who has been the recipient of so much fervent acclaim on an almost universal scale, she is undeniably one of our most important writers. The vast number of works that either adapt her novels directly or serve as clever riffs on her premises and common themes are far too intimidating to even count, so it really is just a matter of acknowledging how beloved she is as a writer, to the point that nearly everything that uses her as an influence carries some meaning. Recently, we saw an adaptation of a slightly less-common (but still deeply loved) novel in the form of Persuasion, which was directed by theatre maestro Carrie Cracknell in her filmmaking debut. The film is a delightful chamber piece, a funny and biting adaptation that feels like it is filled to the brim with the humour and heart that impelled Austen to tell the story of a young woman’s search for love amongst the English moors, making it truly compelling. It may not be the definitive interpretation of the text, but rather serves as a charming adaptation that simmers with a lovable soulfulness that makes it a perfect diversion, especially in comparison to other similar period films.

It’s not difficult to see precisely why Austen’s work is so beloved and has been adapted to the screen (in various forms) over the course of the past several decades. These are timeless stories – whether set within the pastoral, 18th-century hamlets in which they were originally based, or modernized or transplanted to different times and places, these are stories that resonate with people from every generation and background, even if they are unimpeachably English in their sensibilities (some may argue that this is part of their appeal, since they represent the idyllic view of the occident in a way that is accessible and non-toxic) – and as a result, they bring with it a set of ideas that mean a lot to many readers, acting as uniting works in a way that most great works of literature could only aspire towards. The gimmick of Persuasion is that it is set within the same cultural and social milieu of the original novel, and is mostly adherent to Austen’s language, with the exception of a few instances, in which more modern phrases and ideas are infused into the dialogue, creating a few interesting blend of the past and the present. It’s not the first time something like this has been done (nor is it the most successful version of such an experiment), but there’s a promising aspect to how Cracknell handles it that feels genuinely quite interesting, and leads us to believe that it may be more entertaining than it actually is. It depends on how one views these updates – for some, it’s a bastardization of some of the most beautiful text ever written, while for others, it’s a necessary update, a contemporary spin on an archaic novel that is filled with outdated language. There isn’t really any point in arguing against either, since both have their merit and are understandable – ultimately, its a case of the individual viewer and how they view the very specific ideas that underpin this adaptation, judging both on what was elided and what was added onto an otherwise terrific text all on its own.

If there is a flaw to Persuasion, it would be that it was not entirely sure of what it wanted to be. The problem with Austen’s work is that it doesn’t always read in a way that has a very clear tone, which is perfectly appropriate for the printed page (since the wit and emotion embedded in her writing allows the audience to assert their own perception of how these events would play out), but becomes a slight issue when it comes to adapting them. As a result, we find a clear divide between the more comedic adaptations, such as Whit Stillman’s Love and Friendship and Autumn De Wilde’s Emma, or the dramatic interpretations, such as those we’ve seen in the various adaptations of Pride and Prejudice and Sense and Sensibility. The issue here is that Persuasion wasn’t sure what it wanted to be – the modernizing of the dialogue works to a certain extent, after which it becomes exhausting – using Austen’s beautiful text in a way that mangles it to include newfangled terminology and jargon doesn’t only cheapen the adaptation, but actively dates it, making it very clear that this is an adaptation made not for future generations to enjoy, but rather restricting it to immediate audiences. The tone also doesn’t work particularly well – the film is caught between comedy and drama in a way that is not challenging, and actually quite bewildering, since there’s a sense that it was trying to earn merit in both, but ultimately becomes too muddled to succeed in either. This is not enough to fully render Persuasion as invalid, but it does make it slightly less effective, especially since it wasn’t doing anything particularly challenging with its central ideas – had Cracknell put in some effort to actually do something different, the tonal inconsistency would have been somewhat more understandable.

At the very least, Persuasion is an excellent showcase for its actors, which helps justify some of its more questionable aspects in terms of the tonal execution. Austen’s work, while accessible, is not particularly easy for actors to interpret – her writing sparkles with wit and candour, and can often be simple but biting, which therefore requires actors who can handle the material. We’ve seen many very gifted performers struggle to capture the spirit of her words, while some of the most unexpectedly brilliant performances come out of those that we don’t necessarily expect. I have always adored Dakota Johnson, and found her to be extraordinarily gifted. Her movement away from dismal, populist fare has been wonderful, especially since she has continuously challenged herself as an actress, finding nuance in a lot of great films. Persuasion allows her to continue her journey towards being one of the finest actors of her generation, and while it’s not particularly challenging work, it is actively engaging and very exciting, and she performs it well. She’s supplemented by a great cast – Cosmo Jarvis and his questionable accent can be forgiven due to the fact that he is embodying the complex male love interest in a way that does not present him as the embodiment of perfection, but rather shows him to be a much deeper character, while the normally congenial and dashing Henry Golding is a delightfully funny antagonist. Richard E. Grant also proves that he is one of our greatest scene-stealers, commanding the screen every time he appears, and making it clear that he holds the monopoly on such roles. However, it’s not surprising that every performance ultimately leads back to Johnson, being designed to showcase her gifts, and Persuasion is an excellent example of what she can do, even with a relatively simple and straightforward character and premise.

Persuasion is the kind of period film that is easy to take for granted – it isn’t particularly inventive or enticing outside of a few interesting ideas, and it mainly delivers exactly what is promised (there was very little reason for this film to deviate from what it said on the packaging), and thus it doesn’t seem to be interested in striving to be more than what viewers expected. For some, this can signal a film that plays it safe and refuses to do anything particularly deep or meaningful. For others, it’s a sign that this film knows exactly what it wants to be, and is willing to do whatever possible to please the target audience. Austen is beloved enough of a writer to actually warrant such an approach, since she has a core group of devotees that will watch anything that is even vaguely close to referencing her, and an even bigger audience that will be willing to give these stories the benefit of the doubt, due to the fact that they are extremely entertaining and, when done well, can be quite satisfying, even when they aren’t at all challenging. This all converges in a charming, funny and endearing romantic drama that may adhere to the conventions of the period piece in a way that is not particularly unique, but knows its limitations, and rather than trying to convince us that it is a film that is better than it actually is, Persuasion spends more time giving us reason to enjoy what it knows how to do, rather than aiming to be something else entirely, which is a technique more films should try, since it may sacrifice audacity in some parts, but shows a breadth of confidence that can be effective when done right.