With freaky shows like Bridgerton rekindling public interest in Regency England, it’s no surprise that Jane Austen’s novels continue to inspire filmmakers. belief, published in 1817, this is arguably Austen’s most complex and emotionally resonant story, so it holds a firm foothold in the literary and cinematic imagination. This is the story of 27-year-old Ann Elliot, who was persuaded to break off her engagement to poor sailor Frederick Wentworth eight years before the start of the novel. When Wentworth returns to England, new rich and looking for a wife, both characters are forced to come to terms with the past: Anne laments her youthful indecisiveness and vulnerability to the opinions of others; Wentworth struggles to overcome his ongoing anger over their breakup. The closeness of the narrative to Anna’s thoughts and feelings allows for a psychological intimacy that is difficult to replicate on screen but is critical to the story’s success.
Indeed, the most successful film adaptations of the novel are Roger Mitchell’s lavish 1995 performance featuring Amanda Ruth as well as Ciarán Hindsto Adrian Shergold’s 2007 poetic version, led by Sally Hawkins as well as Rupert Penry-Jones –– rely on their strong and faithful interpretation of the character of Ann Elliot. At the beginning of both films, Ann is mostly silent and ignored. As an unmarried woman in her early 20s, she is completely dependent on her family for economic survival and is treated alternately as a nurse, confidant and maid. Torn from her beloved home by her father’s extravagance and long neglected by her selfish sisters, Anne might be seen as an eternally pitiful and downtrodden figure in the hands of less able actresses, but Ruth and Hawkins’ performances come to the truth of her character. Namely, it’s Anne’s maturity and ability to overcome adversity — from the loss of her home to Wentworth’s cold behavior towards her when they reunite, to his impulsive flirting with her naive daughter-in-law — that makes her sympathetic and sweet. not an object of pity.
Ruth’s charismatic performance reflects both the important and humorous nature of Anna’s role in her family, however underappreciated it may be. She is often approached for advice and, much to her chagrin, even finds herself mediating her younger sister’s unhappy marriage and strained relationship with her relatives. Anne’s feelings of indecision and embarrassment about Wentworth (the supremely attractive Hynd) and her enduring love for him are often conveyed through longing glances and painful silence. However, Ruth is such a cheerful actress by nature that her eventual reconciliation with Wentworth seems almost forgotten. The question is not if, but when he will come to his senses.
In contrast, Hawkins’ Ann Elliot seems genuinely hurt by Wentworth’s initial hilarity, and the “eternal estrangement” she fears so much seems possible, making them all the more touching when they reunite. Hawkins’ emphasis on the character’s inner world, as she occasionally breaks the fourth wall, and reinforced by the film’s use of Austen’s original prose, highlights Anne’s growing inner strength. It is this strength that allows her to endure the humiliation of Wentworth’s return and quickly figure out a potentially fatal scenario. Her common sense finally makes her former love, played by the serious and imposing Penry-Jones, realize the fallacy of her path. Her brooding and cautious nature ultimately gives her an advantage in dealing with Captain Wentworth; while she hid her emotions to keep the peace, his palpable anger nearly robs them of their chance for a reunion. After all, it is Ann’s self-awareness that allows her to endure the unbearable. And her path from deep, but inexpressible suffering to quiet happiness makes her the heroine of the story.
Whereas Carrie Cracknellmodernized 2022 adaptation featuring Dakota Johnson as well as Cosmo Jarvis, fails to convey both the depth of Anna’s despair and the extent of her growth throughout the story, poking fun at rather than fully exploring her agony. Because of this, Johnson’s Anne Elliot comes across as the unfortunate heroine of a 21st-century romantic comedy or a modernized regency show—Fleabag meets Daphne Bridgerton—rather than the three-dimensional character she deserves to be. Loyalty to Anna’s psychological path could overcome the film’s obvious anachronisms and boring jokes. However, in its current form, it’s a cringe-worthy Regency frolic that is no match for previous film adaptations. Even the most dedicated Austen fans will find more emotional resonance in Hawkins’ quiet but stern Ann.
Ultimately, Hawkins’ performance remains the most psychologically appropriate interpretation of Ann Elliot to date. Few actresses have been able to convey the depth of Anne’s emotions with so few lines, especially in the first half of the film, but Hawkins managed to do it. Beneath Anna’s calm exterior lies a fierce battle for love and acceptance, beautifully portrayed by one of England’s most talented actresses.
Source: Collider
