Emerald Fennell's provocative reimagining of Emily Brontë's timeless romance blends striking performances with divisive modern flourishes.
What is the most romantic movie of all time? Is it Romeo and Juliet? Pride and Prejudice? From Here To Eternity? The list goes on and on, but one of the films that would certainly be on that list would have to be Emily Brontë's Wuthering Heights. The attraction between Catherine (Margot Robbie; Barbie) and Heathcliff (Jacob Elordi; Euphoria) often leaves audiences yearning for a marriage that never comes. However, despite their doomed love affair, the romance remains, making it a perfect addition to the above list. While there have been over half a dozen film adaptations in the last century, Warner Bros. Pictures is adding its version to the pot this Valentine's Day Weekend.
The Brontë novel details the relationship between Catherine Earnshaw (Robbie) and Heathcliffe (Elordi) and the complicated and tumultuous friendship/love affair they have over the years. Catherine's father was not an affectionate man who gambled and drank too much, but, after such a binge, he brought home a young man who became a servant in the Earnshaw household and a friend to Catherine. As they grow up, their friendship turns into more of an attraction, but, as Heathcliffe has no money, he is considered to be an unsuitable suitor for Catherine. When Edgar Linton (Shazad Latif; The Second Best Exotic Marigold Hotel) moves into the house near Catherine's, she pursues him, and he eventually proposes, which she accepts despite loving Heathcliff.
Director Emerald Fennell (Saltburn) has taken a modern slant on this 19th-century classic, and it makes for a weird result. The first view of the Earnshaw house shows an archway decked out in white and black, glossy tiles. Clearly, these were modern elements that would not have been in existence at that time in history and which looked completely out of place. Fennell must also have a hang-up about sex because she added so many sexual elements, such as masturbation and BSMD, that were not prevalent in the 19th century.
Having said that, Robbie and Elordi have incredible chemistry, and their more intimate moments are so intense that you feel like a peeping Tom watching their moments unfold on the screen. Both actors are well-suited for their roles and are one of the things to enjoy about this version. Elordi exudes a cockiness that fits his character, especially once he returns after 5 years away as a newly wealthy man. Robbie portrays Catherine with an outer sweetness that hides a mischievous and manipulative nature just below the surface. Hong Chau (The Menu) rounds out this triangle by portraying the equally mischievous and manipulative servant Nelly, who plays a hand in the events that unfold during the latter half of the film. Alison Oliver (Saltburn) is a scene stealer as Isabella and makes the audience laugh on more than one occasion.
Fennell offers some stunning visuals to help this mish-mash of a movie come to life. Most notable is the scene as Catherine, in her wedding dress and veil, is walking over the moors to Linton's house. The veil blowing in the breeze and the entire thing fanned out behind her during an overhead shot is simply breathtaking. It makes such an impact that it is remembered long after the scene fades away. The scenery and set designs are well done, but the costumes run from the beautiful to the ridiculously out of place for the time period, especially where Catherine is concerned after she becomes Mrs. Linton.
Wuthering Heights is a beautiful novel that was written over 200 years ago, but Fennell reduces it to an instrument for her sexual desires that is only partially effective. What makes this even more of a shame is that the cast and the story are interesting enough to have kept the audience engaged the entire time without the out-of-place modern elements or the overtly sexual overtones.
Grade: B-
FlickDirect also covered the film's Paris premiere. View our red carpet photos on Instagram: Paris premiere photo set.
