his profession. Morrison attributes these differences to the difficulty in adapting novel to film, particularly as the latter form lacks a narrator to convey Anne's inner thoughts. The film also expands upon Austen's subtle characterisation by exaggerating the emotions of characters and certain scenes. For example, in the novel during an early party, Anne offers to play the pianoforte as usual; while doing so, she is slightly tearful but also "extremely glad to be employed" and "unobserved". Conversely, Dear's screenplay has Wentworth quickly giving up his seat to Anne and then immediately dancing with the Musgrove sisters, furthering the contrast between Anne and the others. According to David Monaghan, Austen's novel displays a "relatively radical vision" of societal change, such as the rise of a professional class challenging the old order of landed gentry. Monaghan posits that this vision appealed to Dear and Michell, who used visuals and movement to emphasise this change. However, the two "deviate significantly" from the source material by depicting Anne and Wentworth as "single-mindedly oriented" to the future and thus 20th-century viewers' sensibilities. Sue Parrill observes that Persuasions larger production budget, which allowed the crew to film much content on location, "enabled the filmmakers to make fuller use of setting for symbolism and for creation of mood". The weather, for instance, is particularly important to Anne's state of mind in the novel. Persuasions opening scenes establish its historical context as well as the financial predicament in which the Elliot family finds itself. Indeed, for Rachel Brownstein, by opening the film with a depiction of sailors, the director is confronting a common complaint about Austen's works—her failure to mention the Napoleonic Wars. The juxtaposition between the navy and the Elliots establishes their differences, with the former group discussing the fall of Napoleon and the latter group discussing the relatively minor inconvenience of overspending. Class and gender In his introduction to the published screenplay, Dear said he was in part attracted to adapt Persuasion because it depicted a "world in transition". To him, the novel showed "an old order fading away into decadence, and a new tribe, a meritocracy, coming to the fore". While directing, Roger Michell felt that the story included "the prototype of the postmodern family"—Anne's mother is dead, her father is bankrupt, and "the old social orders are breaking down". Root described Anne as a "feminist in a prefeminist period" and a "strong, independent