Review: Autumn de Wilde’s ‘Emma’ is utterly intoxicating interpretation of classic novel
There has already been a cinematic adaptation or two of Jane Austen’s comedy of manners “Emma,” and, yet, it seems there hasn’t been enough. There is, of course, Gwyneth Paltrow’s turn in Douglas McGrath’s 1996 version and Amy Heckerling’s ingenious modern-day reimagining of the story in her 1995 film “Clueless,” with Alicia Silverstone’s Cher as the meddling matchmaker. While both have their charms (and “Clueless” is a stone-cold classic), Autumn de Wilde’s interpretation, starring Anya Taylor-Joy as the young Miss Woodhouse, is tart, bright and utterly intoxicating.
De Wilde, a music video director, makes her feature debut with “Emma,” adapted from Austen’s novel by Eleanor Catton. Working with a talented crew, de Wilde deploys everything at her disposal to execute an expertly choreographed and designed film highlighting the arch artifice of aristocratic culture and behavior in Regency England.
The story is one of a young, privileged woman who, having “lived nearly 21 years in the world with very little to distress or vex her,” puts her energy toward making matches for the ones around her rather than look for a husband herself. She can’t stand to leave her beloved, neurotic father (Bill Nighy), but there might be something else behind Emma’s deflection, a fear of emotional vulnerability underneath her crisp exterior.
Every cinematic element, including cinematography by Christopher Blauvelt, costumes by Oscar winner Alexandra Byrne, production design by Kave Quinn and music by David Schweitzer and Isobel Waller-Bridge, joins in a delicate dance to create a carefully constructed confection as sweet as one of the pastries they devour at tea. Bathed in Easter egg shades of robin’s egg blue, blush pink, spring green and sunshine yellow, “Emma” is indeed a frothy and colorful delight. But it also is effortlessly cunning and can be deeply cutting, which is a reflection of Emma herself.
Our heroine is indeed beautiful, funny and smart without a care in the world. But despite her best intentions, Emma doesn’t know all, especially when it comes to the graciousness of handling her privileged station in life. Her self-satisfied gossiping and manipulations can blow up in her face quite spectacularly at times. Catton and de Wilde don’t spare Emma, letting the gravity of her words and actions fall on her shoulders, allowing her to be seen as devious, shallow and snobby (as she is, though never without room for redemption).
The grounded Mr. Knightley (Johnny Flynn) brings her down to Earth. He never truly buys into Emma’s schemes and therefore is able to see her for who she is good and bad. Watching Taylor-Joy soften into Emma’s surprising affection for her neighbor is a joy to watch, and de Wilde lets the film warm and bloom around her as a reflection of her changing emotional state. Flynn and Taylor-Joy bring on the butterflies as any good Austen love matches should.
“Emma” carefully toes the line between comedy and romance with outright hilarious moments courtesy of Mia Goth as the hapless naif Harriet, Josh O’Connor as Mr. Elton, an outrageous village vicar, and of course Nighy as Mr. Woodhouse. The camera needs only to cut to him to elicit a laugh. This version of “Emma” doesn’t try to break the mold, but the winning characters and the dreamily creative treatment of this world makes for a version that is indeed as “handsome, clever and rich” as its leading lady.