Emma

By: Maggie Stankiewicz

Emma Woodhouse, the titular character of director Autumn de Wilde’s latest imagining of the Jane Austen classic, has lived many lives on screen since her introduction in the 1815 novel (also named Emma). This is a film that could easily be written off as simply another spin of a tale told too often, but thanks to a fresh screenplay by Eleanor Catton and Autumn de Wilde’s vision, Emma is a witty, bright and snappy period piece full of modern-day humor. Full of precocious matchmaking prowess, strong performances and some creative meanderings away from its source material, Emma is certainly worth a watch for viewers who enjoy the sensitivities of eras past.

Emma (Anya Taylor-Joy) is an affluent young woman who resides on a large estate with her father (Bill Nighy). The walls and land of the estate are far too much for Emma and Mr. Woodhouse alone, but Emma fills the empty spaces in her life by taking interest in a local orphan named Harriet (Mia Goth) and her seemingly complex romantic preoccupations. Emma inserts herself into Harriet’s life and makes a mess of things, getting tangled in a muddled web of affection. Harriet has a fondness for farmer Mr. Martin (Connor Swindells), but Emma thinks Harriet would be better suited to Mr. Elton (Josh O’Connor) – who just so happens to garner feelings for Emma.

The cast of Emma proliferates quickly, introducing more characters with which Emma can play with – or have her plans foiled by. Emma has a blatant disinterest in romance for herself, despite holding some kind of crush on fellow-affluent Frank Churchill (Callum Turner), but she still seems to be the sun around which everyone in her life orbits. This becomes an issue when Jane Fairfax (Amber Anderson) comes into town and absorbs all of the male attention. When this superficial problem becomes the central conflict of Emma, Anya Taylor-Joy is truly at her best. The actress manages to balance Emma’s audacity with an almost uncanny charm – no one so selfish should be so likable…but she is.

Emma, the character, is a disaster of a woman – who often only gets called out on her behavior by a select few, mainly Mr. Knightley (Johnny Flynn), who has known Emma long enough to decode her irreverence. And though he can see right through her, there is a palpable love or wanting that Mr. Knightley feels for Emma – who remains apathetic in matters involving her own heart. Hilarity and heartbreak are sure to ensue when reciprocity hangs in the balance – and this is something that happens throughout Emma. Of course, there is laughter, but Emma is a film that still owes its existence to Jane Austen’s humanity and ambivalence. This means there are lows to the highs and a sustained middle ground.

Emma does such an exceptional job at keeping what could be a confusing story engaging and fresh that it is palatable even to those who do not enjoy period pieces. This could be credited to the performances and well-constructed script, but the film is also technically neat and visually stirring with its use of lighting, strategic oversaturation, stunning cinematography, and elegant costuming. If you’re on the fence about whether or not Emma is worth its two-hour run time…it probably is. Unless complicated women, textured performance, and fun aren’t your thing. Then, it’s probably best to sit this one out.