Autumn de Wilde
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While it may not be an imaginative reboot akin to Amy Heckerling’s Clueless , Autumn De Wilde’s Emma.
They include two from 1996 starring Gwyneth Paltrow and Kate Beckinsale; a 2009 miniseries with Romola Garai; and of course the loosely based Clueless with Alicia Silverstone from 1995.
Since then, it has been adapted for television eight times and adapted for film four times, most notably as the 1995 modern interpretation Clueless.
The most widely-known and loved are the 1996 film starring Gwyneth Paltrow, and the 1995 comedy, “Clueless,” by Amy Hecklerling and starring Alicia Silverstone as a modern-day, Beverly Hills teen.
It speaks volumes for her elastic relevance that her work is still so out there: de Wilde’s Emma. is one of numerous adaptations in a line-up that also includes the brilliant riffs of Clueless.
Emma is sort of a kindlier version of Glenn Close’s carnivorous marquis from “Dangerous Liaisons,” a self-appointed matchmaker and string-puller.
There’s a strong element of screwball comedy at play (De Wilde cites Bringing Up Baby as an inspiration alongside John Hughes’s coming-of-age movies), an approach that pays crowd-pleasing dividends, even as it reduces the complexities of the original text to a rather more caricatured screen romp.
At times, de Wilde’s deliberate pacing feels of a piece with Kubrick’s work in Barry Lyndon , acclimating the viewer to a time and place so distant from their own.
…lifts Taylor-Joy over the top as a serious young performer in the ranks of Thomasin McKenzie (“Leave No Trace,” “Jojo Rabbit”) and Saoirse Ronan (“Lady Bird,” “Little Women”).
Taylor-Joy, star of cult horror films Thoroughbreds and The Witch, is a young actress with huge eyes, arched brows, and a bow-mouth, suggesting a predatory baby, while Flynn — staring out between his high-winged collar and under his shaggy hair — is more a hunk than the stuffed-shirt hero of the novel.
This time around, the young Emma Woodhouse is played by Anya Taylor-Joy, star of “The Witch,” in her first adult role.
With her giant eyes and air of mystery, she possibly recalls too well her unsettling roles in “The Witch” and the M. Night Shyamalan twin bill “Split” and “Glass.”
Anya Taylor-Joy ( The Witch ) plays the title character, daughter of a gentleman and most proud to be so.
This Emma is played by Anya Taylor-Joy, a young actress whose burgeoning career has already included Thoroughbreds, Glass and one of the best horror films of the last decade (The Witch).
Were Taylor-Joy not so distinctive-looking, it would be difficult to recognize her as the same actress who navigated horror films like The Witch and Split so well.
Fans of Sofia Coppola’s “Marie Antoinette” (2006) will be in heaven, as will anyone who labors under the impression that being alive in Austen’s day was like dwelling inside a doll’s house, or a hatbox.
Aided by Bill Nighy‘s infectious eccentricity as Emma’s doting father, Goth’s docility, and Miranda Hart‘s somewhat desperate, yet no less loveable comedic flair as the genteel spinster Miss Bates, as well as the visual opulence of Alexandra Byrne‘s costuming (the Academy Award-winning designer of such fare as Elizabeth , Thor , and Murder on the Orient Express ) and Isobel Waller-Bridge‘s (yep, Phoebe’s sister) traditional score, Emma.
These insufferable (albeit sometimes touchingly vulnerable) types have been character fodder for many a bitingly witty social satire through the decades, as evidenced by Yorgos Lanthimos’ “The Favourite,” and while “Emma” is a much tamer and less adventurous tale than Lanthimos’ black comedy classic, it’s a tart little gem, bolstered by a bounty of clever and winning performances.
The characters of Count Pierre d'Alen�on in particular and King Charles VI are written as though they were in a satirical film like Emma..
With her giant eyes and air of mystery, she possibly recalls too well her unsettling roles in “The Witch” and the M. Night Shyamalan twin bill “Split” and “Glass.”
Were Taylor-Joy not so distinctive-looking, it would be difficult to recognize her as the same actress who navigated horror films like The Witch and Split so well.
It’s a tricky role for star Anya Taylor-Joy (Split) but she has successfully created a protagonist who is both interesting and unlikeable.
But this new one, which stars luminous star of The Witch and Split Anya Taylor-Joy (born, coincidentally, in 1996), is pitched perfectly.
As Emma, Taylor-Joy (who made such a startling debut in “The Witch” and was the best thing in both “Split” and “Glass”), perfectly channels all of these aspects—she is equal parts likable and maddening and when she does go too far by thoughtlessly unleashing a barbed comment at a character who did not deserve such treatment at all, you can genuinely feel her utter mortification at having caused someone deliberate distress.
Resulta fascinante ver a Anya ( Split , The Witch ) y Mia ( Suspiria , High Life ) en roles completamente distintos a los que han interpretado en sus cortas pero impresionantes carreras, comprobando una vez más el poder de su talento.
There are so many bright young actors here, this movie could well become the “Dazed and Confused” of British cinema.
It’s difficult to put a feminist spin on this character – unlike, say, the wise and witty Elizabeth Bennet from Pride & Prejudice, or Elinor Dashwood, putting the sense in Sense & Sensibility.
While Pride & Prejudice is often viewed as Austen’s masterwork, time has shown that we just love our Emma.
Less impressive is the lead performance by Anya Taylor Joy (“ The Witch” , “ Split” ), wasted is the whimsy of Nighy and this rendition of Jane Austin’s work lacks all the creativity that made Joe Wright’s adaptation of her “ Pride & Prejudice” award worthy.
De Wilde doesn’t inject Emma or its atmosphere with the gloomy, windswept passion of later decades, as Wright did for his Pride & Prejudice.
As if inspired by the techniques of director Wes Anderson (The Grand Budapest Hotel), cinematographer Christopher Blauvelt (The Bling Ring, Mid90s) uses striking symmetry to frame many shots inside the gorgeous mansions.
A veteran rock photographer and music video director whose most iconic work includes the cover shot of Elliott Smith’s “Figure 8,” de Wilde shoots “Emma” like a ballet that’s set on the highest tier of a wedding cake and cast entirely with life-sized toppers; her tilt-shift finale rounds out the rare movie that you can actually taste, even if “Marie Antoinette” and “The Grand Budapest Hotel” have already made sumptuous meals from a similar recipe.
She finds friendship in the naive Harriet (Mia Goth, of “Suspiria” and “High Life”), who follows her advice of refusing a marriage proposal in lieu of pursuing an ill-conceived match concocted by her well-off matchmaker.
And so, despite the stated misgivings of her friend and neighbor George Knightley (Johnny Flynn, “Cordelia”), she undertakes to find a match for her new friend Harriet Smith (Mia Goth, “High Life”).
There are too many to cover them all, but in addition to those named so far, I’d also call out Mia Goth ( High Life ; A Cure for Wellness ) as Emma’s clueless protege, Harriet Smith, and Callum Turner ( Fantastic Beasts and Where to Find Them ) as the rakish Frank Churchill.
Resulta fascinante ver a Anya ( Split , The Witch ) y Mia ( Suspiria , High Life ) en roles completamente distintos a los que han interpretado en sus cortas pero impresionantes carreras, comprobando una vez más el poder de su talento.
She finds friendship in the naive Harriet (Mia Goth, of “Suspiria” and “High Life”), who follows her advice of refusing a marriage proposal in lieu of pursuing an ill-conceived match concocted by her well-off matchmaker.
The most surprisingly impressive turn comes from Mia Goth, the appropriately-named actress/model who often plays roles that contain elements of danger and sexuality, usually at the same time—she was in “Nymphomaniac,” the wildly underrated “A Cure for Wellness” and met a grisly fate in the “Suspiria” remake.
De Wilde thinks that bringing in the eccentric young actress Mia Goth (“Suspiria”) as Emma’s mousy friend Harriet Smith and having her pull gooney-bird faces is enough to get us into the spirit of the thing.
Her major project is Harriet (Mia Goth, from “Suspiria”), who was, tragically, not born of upper-class stock.
Goth, a mournful ingénue in films like Suspiria and A Cure For Wellness , is invited to smile for once, and she does so with a broad abandon that swiftly paints Harriet as an overeager fool for love.
It is some of the happier and more optimistic design we’ve seen from Kave Quinn, whose impressive filmography includes much darker tableaux like “The Woman in Black,” “Teen Spirit,” and even “Judy.”
Even as Mr. Knightley (Johnny Flynn, Clouds of Sils Maria ), who’s known Emma since she was a child, cautions her against such interference, Emma and Harriet become fast friends.
I don’t have much experience with Flynn beyond 2018’s pretty good Beast and 2015’s Clouds of Sils Maria , where I don’t recall him at all, but I’ll certainly remember him now, especially after his handful of vulnerable moments and being the one who finally calls out Emma’s rudeness.
It stars Anya Taylor-Joy (Glass) as the movie’s titular protagonist Emma, along with Johnny Flynn (Vanity Fair), Bill Nighy (Detective Pikachu), and Mia Goth (A Cure for Wellness).
Sure of herself in all things, she takes Harriet (Mia Goth, A Cure for Wellness ), a local lady of uncertain, if any, fortune or prospects, under her wing, dissuading her from marriage to a man she clearly loves, but whom Emma deems not important enough for her.
There are too many to cover them all, but in addition to those named so far, I’d also call out Mia Goth ( High Life ; A Cure for Wellness ) as Emma’s clueless protege, Harriet Smith, and Callum Turner ( Fantastic Beasts and Where to Find Them ) as the rakish Frank Churchill.
He is alarmed listening to Emma’s latest plot to divert Harriet Smith (Mia Goth, "A Cure for Wellness"), a young woman of mysterious birth, from a great match to besotted farmer Robert Martin, towards Highbury’s parson Mr. Elton (Josh O'Connor, "God's Own Country"), a man Knightley recognizes is playing the field.
Emma’s latest project is Harriet Smith (Mia Goth, A Cure for Wellness ), a childish young woman who accepts Emma’s word as gospel.