★★★★
In 1800s England, a well meaning but selfish young woman meddles in the love lives of her friends.
Classification: U
A salvation for the senses.
Autumn de Wilde's directorial debut is a splendid new adaptation of Jane Austen's beloved comedy, while Emma has been adapted many times before both classical and contemporary, there's a soothing and delightful spirit to Eleanor Catton's script and de Wilde's direction. An immensely beautiful film to take in from Alexandra Byrne's costume design (by god every piece is sublime), every locale by Kave Quinn and her production design team, and of course Isobel Waller-Bridge's delicious score of distinctive, classical soul. It's a film you just want to soak in, as like our main character it slowly opens itself up to those around it revealing even greater beauty within.
Emma. starts slow, de Wilde takes her time is establishing the quirky hierarchy of people which Miss Emma Woodhouse presides over with her social meddling, believing herself to be the master of all fates despite protest from Mister Knightley. Focusing on all manner of relationships either familial, companion, or romantic, Emma. boasts a hilariously charming ensemble of actors led by the captivating Anya Taylor-Joy as the title character. Taylor-Joy gives Emma this great warmth struggling against great arrogance, as her strong-willed nature blinds her to what's really in front of her. One of the main plot threads is her controlling friendship with Mia Goth's Harriet Smith, whom Emma has decided to arrange to pair with Mr Elton, the pompous, overbearing vicar for Harriet to achieve greater social status rather than allow her to wed Mr Robert Martin, a local farmer. Catton's script places Emma's position of power as something that has become a shield to her own emotions, with Taylor-Joy throughout the story subtly revealing herself as the cracks to this armour come with each consequence of her actions. Whether it is the arrival of Frank Churchill, her meddling with Harriet, the dance with Mr Knightley or the climatic picnic scene. de Wilde's direction of Taylor-Joy is phenomenal gifting this much-storied character new life which reflects upon the entire film as nothing about Emma. feels old fashioned or traditional but classically enriched by modern charm.
Taylor-Joy leads the film with astounding grace and confidence making her most vulnerable moments all the more romantic and striking especially when against Johnny Flynn's Mr Knightley. Flynn plays against Taylor-Joy terrifically, a morose realist against Emma's optimistic fantasies of control, it's an oddball friendship but he is the only one that truly challenges her making their scenes electric with wit and protest. While Emma is tinkering in the world of Harriet Smith alongside others including Jane Fairfax, Mr Weston and doing her best to avoid Miranda Hart's comically insufferable Miss Bates, she finds herself in a dance of her own against Knightley and the seemingly impressive Frank Churchill (Callum Turner). As the film goes on, all of these threads Catton slowly introduces begin to overlap with one another as the emotional climaxes come from Emma's seemingly minor interferences leading to major outcomes forcing powerful emotion catharsis from Taylor-Joy, Goth and Flynn's performances. Though it isn't all swooning romance and dramaticism, Emma. has a keen wit to it as well with Miranda Hart, Bill Nighy, and the unbelievably hilarious Josh O'Connor providing some of 2020's finest comedy. O'Connor as Mr Elton steals every scene hee's in with his eerie, foolish behaviour, clearly an idiot while Emma sees him as Harriet's perfect match. O'Connor only gets better as the plot has his composure unravel further when paired against Tanya Reynolds' equally detestable character, making for fine barbs of wordplay against Taylor-Joy or Flynn's characters.
de Wilde and Catton take their time in peeling away into the soul of Emma. but it's all worth it as the film culminates in some heart palpating swoon-worthy moments of cinematic romance. The dance scene, the dance scene! I just want to watch that on a loop forever as de Wilde, editor Nick Emerson and Waller-Bridge display through the simplest of movements two people falling in love. The aura of cinematic beauty of Christopher Blauvelt's cinematography just accelerates this emotional resonance with the characters, the film is gorgeous to look at as it captures that idealized imagery of British aristocracy and countryside without feeling patronizing. de Wilde's experience as a photographer giving her a keen eye for use of framing and colour with the simplest of setups feeling all the more artistic. Waller-Bridge's score again glides through your soul with ease making the grandiose simplicity of Emma. all the more palpable with the strings, pianos, lovely choirs, and songs from Maddy Prior, the Carnival Band, and others. Johnny Flynn even lends his talented vocals for a tune or two, I've had 'Queen Bee' playing in my head since leaving the theatre.
Austen fans or curious newcomers who probably will notice some similarities with Clueless (a modern adaptation) will rejoice with Emma. it is elegant, beautifully presented, performed and will surely only become richer on repeat viewings. From the tailored suits to the smallest piece of jewellery, every iota of de Wilde's vision for Miss Emma Woodhouse has a delicate loving touch to make the film one of 2020's most enrapturing offerings so far.
Director: #AutumndeWilde
Screenwriter: #EleanorCatton
Cast: #AnyaTaylorJoy, #JohnnyFlynn, #BillNighy, #MiaGoth, #MirandaHart, #JoshOConnor, #CallumTurner, #RupertGraves, #GemmaWhelan, #AmberAnderson, #TanyaReynolds, #ConnorSwindells
Release Date: February 14th 2020
Trailer:
Written review copyright ©CoreyBullochReviews
Images and Synopsis from the Internet Movie Database
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