There's this idea of romance you would expect from Victorian age books, especially after the likes of Jane Austen or even from Julia Quinn's more modern Bridgerton books. Romance is making a big comeback these last few years, and there are a few authors to blame for this resurgence, but a lot of the expectations from these spicy novels are causing excitement with the target audience for this all-new adaptation of Wuthering Heights.
The quotation marks used indicate that Emerald Fennell is not making a faithful adaptation of Emily Brontë's seminal novel, and that is true. The main premise promises the gothic setting and design teased in the marketing, along with Margot Robbie and Jacob Elordi in the lead roles, which might be influencing a cinematic event. Readers of the source material who know the tale of Wuthering Heights are used to the many adaptations of the novel, which have failed to capture the full story. They will be disappointed again here.
First and foremost, consider this a warning to those familiar with the source material: this adaptation caters to modern audiences who read the kind of romance books that have been popular lately, books that contain some sexual exploration through power dynamics in a fantastical setting that sets them apart from reality. This is far from what Brontë originally wanted to say, or at least what we are so used to assuming she did. Despite the original novel being considered a romance, I personally considered it a cautionary tale told by a very cold governess.
Fennell, as a director, enjoys imagery and visuals that are lush, striking, and absolutely glorious, but also include feelings of unfamiliarity and, to an extent, depravity, themes similar to those in her most recent work. She continues that here, but portrayed in a much more brutalist and dark, very paint-brush-esque shots that capture the look of an erotic book cover, which align with her vision of her script. And yes, she leans into what modern audiences might consider the kinky side of these characters.
I consider this adaptation to have captured several themes from the novel. One being that it leans heavily into gothic absurdity, which reminds me of the more cartoony characters Tim Burton created, from style to character. From the drama to the dark humor, it captures the essence of Brontë's voice. The other, which was something I hoped they would be brave enough to explore, is that these characters are far from redeemable. However, this might not be enough to save the adaptation from active criticism, given that the specific target audience is interested in this movie. Safe to say, this is not your average romance movie.
Fennel made significant changes that were interesting as well. Some I understand, especially without the story being told from Nelly's point of view, something that spoke to Brontë's writing, because she was a governess herself, inspired by the family she worked for at the time. Despite downplaying Nelly's involvement to some extent, Hong Chau's portrayal of Nelly's coldness is very well done. One of the more problematic changes would be casting Jacob Elordi, who is, yes, very good at what he does, but he is not a mixed-race man, as we assumed Bronte was portraying, especially given the book's themes of classicism. You'd think that with a diverse cast, Fennel would have wanted to follow suit with those expectations for the modern audience. However, the one thing that was very much not present, and I was expecting, was the lack of making the Wuthering Heights, the house at least, a character in itself.
Despite the departure from the source material, this adaptation aims to be simply a tragic romance, fluffed up with gorgeous visuals and great acting. As a producer, Margot Robbie knew what she was doing when she greenlit the project and put herself in Cathy's shoes. From a business aspect, to cater to what people want to see onscreen these days, as well as pursuing a role that she usually gravitates to, and honestly, what she does best.
After a great performance in Frankenstein, Jacob Elordi is merely here to be broody, in a discouraging way, or, in some cases, to play a Victorian version of his role in Euphoria. There isn't anything new for him to do in this movie other than be eye candy, which is unfortunate given the aforementioned gripe with the casting. But the real scene stealer is Alison Oliver, like Elordi returning from Saltburn, as Isabel, who almost steals the show.
All in all, this isn't your mother's or even your grandmother's Wuthering Heights. This will not appease book fans. I do understand its appeal outside of that regard, and it might work in its favor. Or maybe the amount of conversation it makes could cause more curiosity, similar to what happened with the success of Saltburn. I personally don't even know if people would want to catch this during Valentine's Day, but it is the closest thing to a Valentine-themed reason to head to the cinema.
Comments