The English author Jane Austin co-wrote a total of seven novels (two remained unfinished), which, while not seeming too much, has provided her with eternal acclaim. Of course, it is also legal that these novels have been repeatedly excoriated – which of us has not seen any version of “Pride and Prejudice”? The last time we saw one of Austen’s organizations on the big screen in 2016, Walt Whitman’s wonderful “Love & Friendship”, which is the ecranisation of the novel “Lady Susan,” so now, four years later, is the last time for some new Austen story. And fate (read: filmmakers) has decided in favor of the latest novel, which was published even during Austen’s own life — “Emma.”
Most famously, the most famous expectation of “Emma” so far, we can call a film that everyone probably doesn’t know at all that it’s the ecranisation of “Emma” — it’s about 1995’s great American comrade “Clueless” with Alicia Silverstone in the main role that naturally follows events, described in Austen’s novel. As we already have an alternative version of this story, then the director of the new ecranisation, Otumna de Wild, who “Emma” has a debut in mooring, makes her film, maintaining a more classical approach, dealing with events during the corresponding time with dresses, hats and deeply suppressed feelings that are mostly allowed to appear outside only as hidden glances with which they are told. everything.
But the relatively classic approach to telling the story doesn’t necessarily mean that the new version of “Emma” ports after naphthalene or seems bored – not to be, because de Wild accurately touts Austen’s textual amicable humor and, with a light hand, forces the protagonists to move around the playground by squinting at us and inviting us to join the elegant dance. Besides, the film occasionally shoots a contemporary pepper, though to allow the heroes to come alive as real human beings, and to breathe new breath into known stories (I’ve read the novel long ago, but with a certain degree of confidence I can say that Mr. Naylee didn’t hang on the floor, driven by despair, and didn’t show his backside).
For those who are not familiar with the story, the first part of the film may become somewhat challenging – understanding and remembering the relationship between the heroes whom we are introduced at lightning speed – asks for a moment. But when viewers swing with the film into its rhythm, the machinations and misconceptions can start to be real. And while there are a lot of comic situations and stings in this early 19th-century “Tinder” dance, it is also not forgotten about true experiences and feelings.
In this dancing, where no one is going to say anything to anyone, instead of choosing more passively aggressive techniques, all the renderers of the protagonists are leaping enthusiastically. Anya Taylor-Joy (“The Witch,” “Split”) has his eyes sparkling when he sees new opportunities to play the sapper, Johnny Flynn in Mr. Naitley’s role in a high-minded sneer, but in his heart he overcomes, while Callum Turner (Frank Churchill) only sneers high-minded (especially without suffering what he’s asking for). In the Gentlemen’s Parade, Josh O’Connor is particularly in the role of pastor Mr. Elton. All the enthusiasts of the Netflix series “The Crown” (he reproduces Prince Charles’s role in the series) will be well-known, but here he has played a more foreign, more massive and pompous role that O’Connor enjoys to the last drop. And it’s always a pleasure to see Bill Nay on the big screen, which only raises one question – which was the last film he didn’t crack at some point?
All emotional and manipulative dancing takes place in an appropriate ostentatious environment with a mild but sympathetic musical accompaniment. But it’s all missing, every time the protagonist, Emma Woodhouse, and the other images reappear in the frame, it’s only to marvel at the performance of the great costume artist Alexandra Byron, who, as it should be, says a lot about the images that are clothed in these gorgeous clothes.
The film is like an elegant dessert that you can eat in a lazy afternoon – it’s snoring, delicious and enjoyable to the eye, like piles of sweets that occasionally appear in the frame. De Wilde has succeeded in a convincing and pleasing debut, which makes us hope we’ve got a new and interesting voice in the cinema world.