‘Emma.’ is the Perfect Combination of Cheeky and Romantic

There is a scene early in Autumn de Wilde’s directorial debut “Emma.” when Emma Woodhouse (Anya Taylor-Joy) makes her friend Harriet Smith (Mia Goth) pose for a portrait that she intends to give to the local vicar Mr. Elton (Josh O’Connor). While Mr. Elton beams on obsequiously, Emma takes great pains in positioning Harriet’s limbs in a rather ridiculous, over-the-top arrangement. By contrast, her father and a family friend appear flabbergasted at this spectacle. Equal parts hilarious because of the mens’ reactions and endearing because of Emma’s naïve vision, the scene encapsulates the film’s cheeky spirit. Although it never strays far from Jane Austen’s beloved novel, “Emma.” still manages to feel inventive and fresh in a sea of other adaptations.

Much like the book, “Emma.” focuses on the famously clever, beautiful, wealthy daughter of a landowner. Because of her brains and beauty, Emma is the reigning social queen of her fictional village, Highbury. The film begins with the marriage of Emma’s former governess to a neighbor, leaving Emma alone with her hypochondriac father. Riddled with ennui, Emma quickly befriends Harriet Smith, hoping to unite her friend with the new vicar, Mr. Elton — much to the disapproval of her neighbor and brother-in-law Mr. Knightley (Johnny Flynn). Despite her best intentions, Emma’s vivid imagination and schemes erupt in all kinds of complications.

Novelist and screenwriter Emma Catton’s witty script successfully captures the most important moments of the novel. Her version is decidedly more romantic, as the relationship between Emma and Mr. Knightley is foreshadowed earlier than other adaptations, and ramped up with frequent intimate meetings.

The film draws much of its humor from the script’s dry satire and visual irony. Catton not only manages to translate Austen’s razor sharp humor to the screen, but she also succeeds in making her mark with some clever additions of her own. She makes great use of the bumbling but pompous footmen Charles and Bartholemew, for example, to poke fun at the stuffiness of eighteenth-century decorum. She also keeps the script light and surprising: The most entertaining addition comes at the film’s conclusion when, at the most climactic instance, Emma suffers a nosebleed.

Although she’s known for her music videos and photography, de Wilde’s previous projects have served her well: “Emma.” is visually exquisite and sumptuous. The entire work is marked by militant timing and symmetry, with actors moving across spaces as if they were in a choreographed dance. Entrances are coordinated perfectly with servants simultaneously entering rooms from opposite sides of the room, and the actors’ brusk movements are punctuated by the staccatos of the film’s bold score.

Helmed by cinematographer Christopher Blauvelt and production designer Kave Quinn, “Emma.” is a Wes Anderson-like vision, complete with title cards to denote passing time. Highbury, with its sprawling estates, is a lavish world where pastels and delicacy reign supreme: The walls are brightly coloured Easter eggs and the food is decadent and sculptura.

Costume designer Alexandra Byrne, in particular, should be congratulated for her detailed work. Though the all characters are impeccably dressed in accordance with their personalities, Emma parades around in a series of delicate, gossamer Regency-era gowns, whose laces and ruffles make her appear like something out of a Northern Renaissance painting.

This craftsmanship extends to the film’s cinematography. Characters are positioned in just the right way, so that the light plays off their faces to create a painted quality. During the ball scene, for example, Emma and Mr. Knightley carry out a conversation in near darkness with only a soft, natural light coming from the fires. The scene is highlighted by warm light which bathes them in a subtle glow and voyeuristically draws the viewer into their increasingly intimate conversation and relationship.

Though “Emma.” feeds off its incredibly talented ensemble cast — which features Miranda Hart’s unsurprisingly hilarious portrayal of Miss Bates and Nighy’s ridiculous, deadpan Mr. Woodhouse — Anya Taylor-Joy stands out with her incredible command of Emma’s emotions. Her face reads like a canvas, rendering Emma’s desires vividly and astutely. Her version of the character is decidedly more haughty and childish than others, but still manages to be endearing and quippy. In Taylor-Joy’s hands, Emma is just the right amount of insufferable.

Flynn initially appears less comfortable as Mr. Knightley, but over the course of the film, he settles into the role. This shift stems primarily from changes to the character itself, which feels re-invented. From the start, Mr. Knightley is presented as a sexual figure, a feat in part achieved by an unforgettable early appearance: a fully naked shot of him from the back. This decision ultimately works, rendering the growing relationship between him and Emma much more ripe with possibility.

Perhaps what makes “Emma.” so entertaining is its unabashed confidence. It could have taken more risks with script or characterization, but with its robust style and top quality acting, it doesn’t need anything else. It is a film that doesn’t second guess itself, and for that reason the period added to the original title feels critical: “Emma.” speaks for itself and doesn’t need any gimmicks to dress it up.

—Staff writer Aline G. Damas can be reached at aline.damas@thecrimson.com.