Emerald Fennell’s latest film, an adaptation of Emily Brontë’s classic “Wuthering Heights,” has stirred significant debate since its initial trailer was released. Set to hit theaters this Friday, the film takes a distinct approach, focusing solely on the first half of the novel, foregoing the latter complexities of generational trauma and heartbreak that traditionally characterize the story. While it may present only a fraction of the original plot and characters, it dives into explicit themes and provocative imagery, showcasing a commitment that diverges from conventional adaptations.
Fennell’s creative choices raise eyebrows, especially her decision to mark the title with quotation marks. This stylistic choice signals that she’s not merely recreating Brontë’s work but rather reinterpreting it. During an extensive press tour, she candidly stated, “I can’t say I’m making Wuthering Heights; it’s not possible,” indicating her aim to create a new version that pays homage to the original while standing apart. The quotation marks serve a dual purpose, reflecting both a nod to cinematic history and the subjective nature of her adaptation.
Her film draws a surprising connection to the mid-20th century, with its flamboyant costumes crafted by Jacqueline Durran, who designed over 50 outfits for the character Cathy, played by Margot Robbie. The costumes echo a bygone era of extravagant film attire, reminiscent of the opulence found in classic cinema, notably unfairly overshadowing the book’s original context. Fennell has openly dismissed the notion of strict period accuracy, suggesting instead a fusion of emotional resonance and visual flair.
Filming locations for the movie mirror this lavish aesthetic, utilizing soundstages reminiscent of grand mid-century productions. Fennell recalls the cinematic charm of previous adaptations while ensuring her portrayal remains uniquely her own. The character Cathy’s costumes frequently evoke parallels with Merle Oberon’s portrayal in William Wyler’s 1939 film, marked by vibrant hues and intricate designs. Durran notes that the design process stems from an instinctual, emotional perspective rather than a rigid historical framework.
Critics of Wyler’s 1939 adaptation recognized a similar approach, emphasizing emotional depth over historical fidelity at the time. Frank S. Nugent of The New York Times praised it for its “emotional presentation,” highlighting its ability to capture the raw intensity of Heathcliff and Cathy’s tumultuous relationship while trimming away non-essential content. Such reflections suggest that both Fennell and Wyler hold a shared philosophy, prioritizing emotional truths over exacting scholarly adherence to the original text.
In this modern retelling, Fennell connects the storytelling to cinematic influences rather than historical accuracy, creating a portrayal that is more aligned with the perspective of film enthusiasts than traditional literary audiences. While her approach may spark debate regarding authenticity, it undeniably captures attention and creates a visually rich experience. Though some may view her adaptation as shallow, it reflects a vibrant interpretation of classic literature, promising a film that may resonate on a different emotional level for viewers.