Emma. (2019 Review)
Emma is a Hilarious and Well-Crafted Adaptation.
It would seem that 18th-century literature is seeing a revival at cinemas with last year’s Little Women and now Emma (and the upcoming The Personal History of David Copperfield). While many were smitten with Little Women, I wasn’t nearly as enthralled (I certainly recognize how well made it was). Emma, on the other hand, is everything that I hoped it would be and more. Director Autumn de Wilde and writer Eleanor Catton perfectly adapt the charm, humor, and wit of Jane Austin’s novel, making it one of the best romantic comedies I’ve seen in years. Despite knowing full well how the story would play out, I found myself enchanted with Emma.
Surely, all of you must know the story of Emma. No? Well, how about Clueless? Have you seen Clueless? Then you know the story. Let’s have a quick recap, just to brush off the cobwebs. Jane Austin says it best, so I’ll let her kick things off:
“Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her.”
-Jane Austin
Needless to say, Emma (Anya Taylor-Joy) is privileged, spoiled, and bored. So much so that she occupies her time playing matchmaker for the women in her life, most notably her dear friend, Harriet Smith (Mia Goth). While she tends to pat herself on the back for “knowing” what’s best for those around her, there are a few out there who think she has no idea what she is talking about. Most notably, her brother-in-law, George Knightly (Johnny Flynn), the only man in England brave enough to tell her that she’s full of @#$%. The film follows Emma over the course of a year in which she learns about humility, respect, and love.
Emma is truly a sight to behold. Set in England during the 18th century, the film takes place on several estates that are simply jaw-dropping. They are the epitome of wealth and luxury. So much so, that one scene, in particular, features the characters simply exploring one of the sprawling manors. It doesn’t hurt that they are all impeccably decorated as well, with enormous oil paintings and statues standing as testaments to the limitless wealth the dwells within them. To counteract the coldness of such grotesque extravagance, Emma adopts a bright and pastel inspired color scheme that reflects the “rebirth” theme for the main character. This also applies to the elegant costumes throughout the film. Many of the dresses showcase vibrant colors that envoke a feeling of spring with their pinks, blues, and greens. The men in their own overlayered outfits, also manage to add a hint of color to them as well with their vests, pantaloons, and top hats. Everything about Emma is quite simply beautiful, especially the cast.
Anya Taylor-Joy portrays Emma as having the sort of blissful ignorance that comes with extreme wealth and entitlement. She’s the kind of young woman who is ignorant to just how little she knows and seems to equate her high social standing with knowing what is best for everyone else. Her Emma comes across like a spoiled teenager, rolling her eyes at everyone and constantly “humble bragging.” She’s cheered on by the simple-minded Harriet, who Mia Goth breathes life into with an infectious smile that inspired me to genuinely say, “Bless her heart.” It’s an insult in the south, but I wholeheartedly meant it every time she fell for Emma’s manipulations. Johnny Flynn proves to be the perfect foil for Taylor- Joy, as his own higher economic and social standing allows him to see her for what she is, a bored girl playing with people’s lives for her own amusement. The chemistry between the two of them allows their characters’ constant clashing lights a spark that allows the romance between them to slowly simmer until it erupts. So far, they are the best on-screen couple I’ve seen in 2020.
Autumn de Wilde gracefully punches up the comedic aspects of the tale. Of course, the film is filled with the quick-witted dialogue that Austin’s novels were so well known for and there’s plenty of verbal jousting between many of the characters, along with some cutting snide remarks. However, it’s Bill Nighy who got the most laughs out of me as Emma’s eccentric, hypochondriac father. He has an obsession with “drafts” in the film and will interrupt scenes simply to chase after phantom chills that he feels from somewhere within the house. Forcing his servents to constantly move about screens to protect him. He doesn’t have many lines in the film, all things considered, but plenty of scenes use a quick cut to him with a baffled expression on his face as he listens to others gossip in order to slap an exclamation point on them. While the entire movie had me and the rest of the audience chuckling continuously, Nighy’s facial expressions and spry outbursts had me in absolute stitches.
All in All, Emma is a movie that just feels good to watch. It’s charming in all the right ways thanks to the actors making their roles seem effortless. No small task considering that 18th century English is so different from what we use today. They make it work thanks to a wonderful rhythm that they develop among each other which makes the film feel vaguely Shakespearean. I was delighted with all aspects of Emma and surprised at just how relevant it managed to make itself. Watching the events unfold, I couldn’t help feeling like the way Emma meddled in the lives of others reflected how the wealthy do the exact same thing now (though with much more nefarious intents). As bratty as the protagonist is, I couldn’t help falling in love with her story. I certainly hope that you’ll take the time to see this film in theaters because it is simply a delight.
