Anne realizes she has nothing to tempt Wentworth’s return to her side.
The camera is behind her, and the viewer sees her introspective expression in the mirror. Anne stares at her reflection in the mirror. She remains alone in her rooms at Uppercross while the rest of the family shares in Wentworth’s arrival. She looks out the window upon the others participating in life. At Uppercross, Anne is relegated to pianist while the others enjoy the evening with dance, and it is Anne who tends Mary’s children.Īnne’s life is very small. We see this because it is Anne who is in charge of the keys and the organization of the house while her father and Elizabeth retrench in Bath. At Kellynch, Anne is little more than a housekeeper. Anne wears loosely fit clothing and over large capes, indicating she wishes to fade into the wallpaper. Through the first third of the film, the viewer sees Anne as do the Musgroves, the Elliots and Captain Wentworth: She became an “old maid.” Her plain clothing choices, strict undo, meek behavior among her immediate family, and the solemn expression upon her countenance name Anne as hopeless. Nick Dear’s notes on the screenplay indicate that the character of Anne Elliot will be less well dressed than the rest of her family, especially Elizabeth and Sir Walter, who preen throughout the action. In this version, we are well aware that Anne Elliot “has lost her bloom.” Amanda Root goes through a change of appearance in the film, from dowdy to attractive. Nick Dear uses candles for lighting, which provides the viewer a sense of being within the scene with the actors. The scenes are grittier and more life like. It certainly is not the pretty heritage film common to the genre. Inspired by Jane Austen’s Persuasion – Captain Wentworth’s Glove …ĭirector: Roger Michell Screenplay: Nick DearĪlthough I have seen the other version of Austen’s “Persuasion,” this one is my favorite.
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