Persuasion adalah satu lagi adaptasi novelis legendaris, Jane Austen setelah belasan karyanya diangkat ke medium film yang telah puluhan jumlahnya. Persuasion digarap oleh sutradara teater asal Inggris, Carrie Cracknell yang dibintangi oleh Dakota Johnson, Cosmo Jarvis, dan Henry Golding. Mampukah adaptasi rilisan Netflix ini bersaing dengan adaptasi Austen sebelumnya yang dianggap masterpiece?

Gadis muda cerdas dan mandiri, Anne Eliot (Johnson) rupanya masih belum bisa move-on, setelah putus selama delapan tahun dengan Frederick Wentworth (Jarvis). Pertemuannya kembali dengan pujaan hatinya membuat harapannya kembali hadir. Perasaan yang terpendam, semakin terkunci rapat ketika sepupu dekatnya, Louisa terpikat pada Frederick. Sementara seorang bangsawan muda menawan, William Elliot (Golding) memikat Anne dengan ketampanannya. Mantan dua sejoli ini semakin jauh dari mimpi mereka, sekalipun di lubuk hati mereka tidak pernah melupakan satu sama lain.

Dari semua adaptasi Jane Austen, satu yang paling mengesankan secara estetik adalah Pride & Prejudice (2005). Bicara kisah adaptasinya, banyak penikmat tentu tak lepas dari dua hal, loyal atau lepas dari adaptasi aslinya. Medium film memiliki gaya estetiknya yang tentu berbeda dengan literatur, tinggal bagaimana kemasan kisahnya disajikan secara filmis. Pride & Prejudice (2005) adalah juaranya, walau Sense of Sensibilities, Emma hingga Clueless juga bisa dibilang punya kualitas. Lalu Persuasion? Bisa jadi bukan salah satu yang terbaik, namun punya charm-nya tersendiri melalui penampilan bintang dan gaya bertuturnya.

Tak dipungkiri, Dakota Johnson adalah salah satu kekuatan film ini. Aktris asal AS ini tampil prima sebagai gadis modern Inggris pada masanya. Walau bukan kapasitas saya untuk menilai aksen Inggrisnya, namun gesture dan ekspresinya sudah lebih dari cukup untuk melihat betapa briliannya aktris ini. Satu teknik yang mendukung aktingnya adalah pelanggaran tembok keempat, di mana ia seringkali berkomunikasi langsung dengan penonton. Dengan hanya lirikan mata saja sudah membuat penampilannya amat menggemaskan. Para kasting lainnya terlampau jauh jika disandingkan dengan penampilan Johnson.

Baca Juga  The Girl Who Got Away

Walau tak sesuperior adaptasi Jane Austin, Pride & Prejudice (2005), penampilan memikat Dakota Johnson sudah cukup untuk membuat film ini layak ditonton penikmat genrenya. Rasanya ini adalah salah satu penampilan terbaiknya. Untuk adaptasinya, para penggemar sejati sang novelis bisa jadi kecewa karena alur kisahnya. Secara estetik pun tidak banyak yang ditawarkan, dan gaya kamera handheld, juga bukan solusi yang brilian untuk mendampingi kisahnya. Jika kamu penggemar Austen ini jelas adalah tontonan wajib, dan bagi penggemar roman, Persuasion lebih dari cukup untuk menjadi tontonan menghibur. Masih kita tunggu, karya brilian adaptasi Jane Austen lainnya.

 

1
2
PENILAIAN KAMI
Overall
75 %
Artikel SebelumnyaValley of the Dead
Artikel BerikutnyaDecision to Leave
A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). A lifelong cinephile, he developed a profound passion for film from an early age. After completing his studies in architecture, he embarked on an independent journey exploring film theory and history. His enthusiasm for cinema took tangible form in 2006 when he began writing articles and film reviews. This extensive experience eventually led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched students’ understanding through courses such as Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended well beyond the classroom. In 2008, he published his seminal work, Understanding Film, an in-depth examination of the essential elements of cinema, both narrative and visual. The book’s enduring significance is reflected in its second edition, released in 2018, which has since become a cornerstone reference for film and communication scholars across Indonesia. His contributions to the field also encompass collaborative and editorial efforts. He participated in the compilation of Montase Film Bulletin Compilation Book Volumes 1–3 and 30 Best-Selling Indonesian Films 2012–2018. Further establishing his authority, he authored Horror Film Book: From Caligari to Hereditary (2023) and Indonesian Horror Film: Rising from the Grave (2023). His passion for cinema remains as vibrant as ever. He continues to offer insightful critiques of contemporary films on montasefilm.com while actively engaging in film production with the Montase Film Community. His short films have received critical acclaim at numerous festivals, both nationally and internationally. In recognition of his outstanding contribution to film criticism, his writing was shortlisted for years in a row for Best Film Criticism at the 2021-2024 Indonesian Film Festival. His dedication to the discipline endures, as he currently serves as a practitioner-lecturer in Film Criticism and Film Theory at the Indonesian Institute of the Arts Yogyakarta, under the Independent Practitioner Program from 2022-2024.

BERIKAN TANGGAPANMU

Silahkan berikan tanggapan anda
Silahkan masukan nama anda disini

Situs ini menggunakan Akismet untuk mengurangi spam. Pelajari bagaimana data komentar Anda diproses