“Persuasion” is the latest, most egregious example of an ongoing problem in the “Fifty Shades” actress’s career.
The new Netflix film is a condescending, unsubtle, emotionally constipated take on Jane Austen’s classic novel—a misuse of not only its source material but also its star. But it’s also emblematic of perhaps the one hurdle standing in Johnson’s way in a post-“
,” world: Casting directors just can’t seem to resist recruiting her for films in which she does not belong.film trilogy, in which her idiosyncratic charisma and sly humor transformed what could have been a disastrous flop into deliciously campy smut. But ever since then, the onetime Anastasia Steele’s skill for arch, quiet comedy has been wasted on roles that seem tailor-made for someone else.were a snapshot of what lay ahead.
. While the former film forced Johnson into strained earnestness, the latter allowed her to embrace the shifty qualities that can make her such a fascinating performer.Johnson plays the daughter Ralph Fiennes never knew he had. She’s piercing and intense, insulting half the table at lunch one moment and making inappropriate passes at guests minutes later. Most importantly, Johnson’s portrayal is utterly naturalistic, an actual meeting between performer and character.
was never within her grasp. Honestly, that last part might be true—but to believe the first, one would have to ignore a good chunk of her filmography.
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