Autumn de Wilde | 125 mins | cinema | 1.85:1 | UK & USA / English | U / PG
According to IMDb, Jane Austen’s Emma has only been adapted for the big screen twice before — and one of those was Clueless. There have been multiple TV movie and miniseries takes on the novel, though, but as the most recent was over a decade ago I guess someone felt it was about time to trot it out again (after all, every major Dickens and Austen must be adapted for the screen at least once a decade or so, right?)
Following in the footsteps of the likes of Gwyneth Paltrow, Kate Beckinsale, and Romola Garai — and, I guess, Alicia Silverstone — in the title role is Anya Taylor-Joy. With her wide eyes, blonde ringleted hair, and silent, still demeanour, Emma is the very vision of loveliness. But, like so many stereotypical outer appearances, her sweet visage masks a manipulative schemer, obsessed with her own matchmaking ability; and, in private, her opinions of others are often not so kind. She is, in short, a bit of a bitch. Taylor-Joy is perfect in the role, doing an awful lot with subtle changes of expression in reaction shots — her Emma may often be silent and still, but she still conveys so much. Some have labelled Taylor-Joy a “scream queen” after her breakthrough roles in the likes of The Witch and Split, but she’s got a lot more range than that label implies.
Around her is a cast mixed of well-known faces and up-and-comers. For the latter, the standout is Josh O’Connor, who you may recognise from The Durrells, or The Crown, or God’s Own Country, or one of several other roles — he’s been an up-and-comer for a while and is about due a full-on breakthrough, which I guess all of these things combined have or will provide. Anyway, here he’s an obsequious vicar whose manner changes entirely once his true intentions and character are exposed, and O’Connor tackles both sides with the right amount of humour and churlishness. Johnny Flynn brings a rugged edge to Mr Knightley, Emma’s neighbour and lifelong friend, who disapproves of her meddling ways even as he clearly approves of her. Mia Goth brings a convincing wide-eyed innocence to Harriet Smith, a young girl of unknown parentage who Emma takes under her wing with the real motive of once again showing off her matchmaking skills, which is quite at odds with her previous roles in the likes of Nymphomaniac and The Survivalist.
As to the better-known cast members, Bill Nighy is reliably drily hilarious as Emma’s father, while Miranda Hart injects a lot of her familiar persona into the babbling Mrs Bates, before hitting you with an almost gut-punch of emotion (there were gasps at my screening, dear reader — gasps). Fans of the book / other adaptations will surely know which moment provokes such a response, so there’s the quality of Austen’s original’s storytelling at work there, and also that of the filmmakers and the rest of the cast — the reactions of the other characters; the way they hastily try to cover up the faux pas; and the exposure of Emma’s true character contrasting with the overall sugariness of the way this world has been presented.
This is director Autumn de Wilde’s most striking contribution to the story. The colour palette evokes confectionary; the manner of framing and camera moves is sometimes Wes Anderson-esque. If this Austen adaptation lacks the pure satirical bite of, say, Love & Friendship, it counterbalances with a contrast between the prettiness of the design work and the true thoughts, feelings, and schemes of the protagonist.
Of course, at the end of the day, Emma is a romance, and all’s well that ends well, earned via a flurry of apologies and plotting that lands everyone just where they always ought to have been. I suppose such narrative tidiness is anathema to some, just as are the delightful visuals, the witty dialogue, or the fundamental triviality of a bunch of rich people fussing over each other’s love lives. Well, that’s Jane Austen, people. And, like the elaborate confectionary it so resembles, Emma may not be nutritional, but it is delicious.
Emma. is released in the US today, and is in UK cinemas already.