![]() At the sight of their the full-rigged ship, I felt a tug toward freedom, too, away from all the persuasive pressures of society. Another moment occurs at the end (which returns to the opening scene, with ships), when she and Wentworth set sail. ![]() At the shore in Lyme, all characters but two play with the sand and the surf the two are Wentworth, who stares out at his true home, the sea, and Anne, who also simply gazes serenely out over the water toward- freedom? adventure? Wentworth’s true home? It sets Anne apart with lovely subtlety. Certain key moments in the film, some of them silent, reveal more than the dialog (although the number of times Anne is influence by persuasion is effectively stifling). They lack all complexity, but they do provide adequate comic context for the heart of the story– which, in some ways, this film improves upon. ![]() Indeed, protagonist Anne (delicately brought to life by a refreshingly plain actress, Amanda Root) is the only member of the Elliott family who isn’t a grotesque: vain Sir Walter, strident Elizabeth, narcissistic Mary. ![]() As to the verbal: The only bad news is that the screenplay perpetuates, as it must, Austen’s repair to caricature for her satire. ![]()
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