The imprint of a movie title may seem natural (Lord of the Rings: Ring encounter, Face off) or less forced (Mother!, Star Wars IX: The Rise of the Skywalker). Either way, however, it serves a purpose: considering when a movie should fall in sequence, or symbolizing something about a subject. This is the last case Emma., the latest adaptation of Jane Austen's novel & # 39; s 1815. With the exception of a period of absolute standing in the title, the work Autumn de Wilde has done for Austen is not the last word on the subject. (Or it is a renaming that the moratorium goes on Emmait will not be the worst thing in the world.) Instead, this season is meant as a declaration of good filmmaking, the dream stuff of drama lovers. This is Emma, time.
Anya Taylor-Joy (Witch, Divide) stars as Emma Woodhouse, who emerges from the comfort of her family legacy, engages in getting into other people's lives. Her latest project is Harriet Smith (Mia Goth), an orphan whose love for the loyal farmer Emi quickly returns to the rural area, Mr. Elton (Josh O & # 39; Connor). Although most of Emma's friends and acquaintances watch her admire her for her caring and caring attitude toward others, George Knightley (Johnny Flynn) knows better, and takes her to work for him since his plans start to fall back.
Before making his feature direct to the dwe Emma, de Wilde worked as a photographer and director of video and music, his eye for composing and capturing the best man-made compositions (whether formal or moving) are on display here. Equally good actors play with their strengths, expectations in some way (legendary criminal Bill Nighy, like Emma's dad, has ample opportunity to show off his bad talents) and new to others. (Goth, who has starred in a number of dark, bright films is similar Suspiria and Nymphomaniac, unexpectedly funny and charming as Harriet's eye-catching and mindless.) The colors and costumes are rich without words, and not a single hairy character that goes nowhere – save Flynn as Knightley, who stands on the edge of good manners and sets him apart from other characters.
For the most part, this adaptation, written by Eleanor Catton, is faithful to its source material, and the visual ending reinforces the story. Like Knightley, Flynn is not a gentle man like a cannonball of charisma. His short, blunt traits make him a more modern leading man than Austen's common love interest. (In the past, he was very much cast as a modern type of bad boys or illegal aliens, e.g. a handsome man who may also be a killer in both The beast and Hangmen.) But as one wild element in that solitude Emma, she is perfect, especially as the otherworldly Taylor-Joy perfectionist.
Austen wrote that he does not believe that anyone other than him will find dear Emma, as Emma had many flaws and, at the climax of the story, it is straightforward. But in the end, he's still a hero. Taylor-Joy walks the line perfectly. Emma is only 21, the first year of gossip and backlash. But when he makes selfish decisions in the end, it is understandable, given his age and experience. She is paired with other young heroins in that sense, from the Stark girls on Game of Thrones to Lara Jean at For All the Boys series, or Cher Horowitz is perhaps the most famous Emma adapt, You have nothing. Emma is simply doing her age.
In contrast You have nothingDe Wilde's spin on Austen's novel does not bring anything new to the table. But apart from the unusualness of the law of flexibility: it doesn't have to be redone Emma, because it fits so well. As the original news begins to expand, and then a resume and commemoration from being a rigueur, the general rule of thumb is that any reprint should be held accountable for its existence, even if it is a radical change. Mad Mad: Fury Road, or to look at the rise of tribal aggression in David Gordon Green & # 39; s 2018 onwards Halloween. Re-thinking without the actual point (like the most recent one Hell and The Lord of the Lions remakes) tend to fade. Emma proves that story regeneration is not the only way to success; a simple commitment to a story can be a magical ingredient.
There is a noticeable romance in all aspects of the film, whether it be with O & # 39; Connor's excessive performance as Mr. Elton, the way all particular hats can be used as a reference for a particularly rotten cake, or for the times when the world is all over a fraction, as in the case of Emma lifting skirts his and returning to the fireplace to warm his butt on a cold day. This is Emma it fully captures its titular time, and the first place on any of the 2020's most impressive films list.
Emma. it's in theaters now.
