Susan Fleetwood | Through the Shattered Lens

It’s been a while since I’ve written about any of my favorite romantic films. Today, I thought I would discuss the film that just might be my favorite love story of them all, and that’s the 1995 version of PERSUASION. Based on Jane Austen’s final completed novel, PERSUASION tells the story of Anne Elliot (Amanda Root) who was persuaded eight years earlier, at the age of 19, to reject the hand of the man she loved, Captain Frederick Wentworth (Ciarán Hinds). At the time, Wentworth had no fortune or social standing, but the ensuing years seemed to bring both to the seafaring captain. When fate unexpectedly brings them back together, Anne’s past feelings of love re-emerge, and so does her regret for her earlier decision. After all these years, does the still-single Captain Wentworth love her, or is he ready to move on?

PERSUASION features incredible turns from Amanda Root and Ciarán Hinds as Anne Elliot and Frederick Wentworth. Their performances aren’t built around grand gestures or sweeping declarations of love. They’re built on quick glances, emotional restraint, and an ability to convey lingering pain, regret, and feelings of love that began many years earlier but have never gone away. Their chemistry isn’t flashy, but it is authentic, built over many years rather than some instant attraction. These character traits may seem old-fashioned and unnecessary in this day and time, but the action in the film takes place in early 1800’s where this behavior would have been perfectly natural.

Speaking of “perfectly natural,” director Roger Michell’s realistic presentation of the material is one of the film’s key strengths as far as I’m concerned. Avoiding the polish of most period dramas, PERSUASION embraces the weathered houses, imperfect landscapes, simple costumes, and yes, even the less than glamourous looks of the cast. It seems like we’re watching real people living in the real world instead of impossibly attractive men and women playing dress up. As the lead characters seem to be falling deeper into love over the course of the film, their blossoming happiness makes them more attractive.

If I haven’t made it clear enough, if you’re looking for a movie that throws a lot of overly dramatic plot twists and simple solutions your way, PERSUASION is probably not the movie for you. But if you enjoy a deliberately paced, mature story that deals with messy themes of missed opportunities, personal growth, and forgiveness, then you just may love it. There are moments when Anne simply watches Wentworth across a room, or clutches a chair as he enters a room, where I felt such a strong connection to the characters. Sometimes the most powerful emotions truly are those that are left unspoken. This film will reward your patience if you stick with it, and its final scenes are very satisfying to me because of what the characters have gone through to reach that point.

PERSUASION is a film that I return to again and again when I’m stressed or need a pick-me-up. It just makes me feel good. In my opinion, it isn’t just one of the best Jane Austen movies, it’s one of the best romantic dramas out there, and I highly recommend it!

High atop Mt. Olympus, Zeus (Laurence Olivier) and his fellow Gods look down on Earth and jealously manipulate its citizens. When Zeus impregnates Danae (Vida Taylor), the daughter of the King of Argos, she and her son Perseus (Harry Hamlin) are banished to sea. Zeus responds by ordering Poseidon (Jack Gwillim) to release the Kraken.

Years later, when Callibos (Neil McCarthy), the son of the Goddess Thetis (Maggie Smith), destroys all but one of Zeus’s flying horses, Zeus transformer Callibos into a tailed monster. Thetis tries to get her revenge by having Callibos kill Perseus but instead, Perseus chops off Callibos’s hand, comes to possess Pegasus, the last of the flying horses, and also wins the right to marry Andromeda (Judi Bowker).

At the wedding, Cassiopeia (Sian Phillips) declares Andromeda to be even more beautiful than Aphrodite (Ursula Andress). Big mistake. Aphrodite demands that Andromeda by sacrificed to the Kraken. Along with Pegasus, Ammon (Burgess Meredith), Thallo (Tom Pigott-Smith), and robot owl, Perseus goes on a quest to get the snake-haired head of Medusa so he can turn the Kraken into stone.

There’s a lot that I love about Clash of the Titans, from the Ray Harryhausen’s stop-motion special effects to the blind witches who pass one eyepiece among them to Burgess Meredith’s performance as Ammon. I even like the robot owl. But the thing that has always made the biggest impression on me is that Mt. Olympus is portrayed as having a shelf that holds a figurine for every human in the world. The Gods casually move the pieces around and transform them on whims. Of all the films that have been based on Greek mythology, Clash of the Titans is one of the few that really captures the idea of the Gods essentially being a bunch of petty and jealous libertines who view humans are just being their playthings.

Let’s not overthink Clash of the Titans, though. The main appeal of Clash of the Titans is that it’s just a good, old-fashioned adventure movie. In this age of CGI and humorless heroes, it’s hard not love the film’s mix of old-fashion stop-motion animation, strong characters, and occasional moments of humor. (I like the owl and I won’t apologize for it.) Also, Medusa has appeared in a lot of movie but she’s never been scarier than in this movie. Who can forget the yellow glow of her eyes, followed by men turning to stone? Who can forget the hiss of her tail or the moment when Perseus waits to strike while trying not to look into her eyes? Beyond Medusa, who can forget the Kraken rising from the sea or the blood of Callibos giving birth to giant scorpions? Without CGI, Clash of the Titans still captures the feel of living in a different time and a different land. Clash of the Titans brings mythology to life in a way that few other films have been able to,

I loved the original Clash of Titans when I was a kid. I rewatched it last month and I happy to say that I love it still.