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Emily
Review by Rich Cline | | |||||
dir-scr Frances O'Connor prd David Barron, Robert Connolly, Robert Patterson, Piers Tempest, Brett Wilson with Emma Mackey, Oliver Jackson-Cohen, Fionn Whitehead, Alexandra Dowling, Amelia Gething, Adrian Dunbar, Gemma Jones, Sacha Parkinson, Harry Anton, Gerald Lepkowski, Philip Desmeules, Elijah Wolf release UK 14.Oct.22 22/UK Warners 2h10 TORONTO FILM FEST Is it streaming? |
Actor-turned-filmmaker Frances O'Connor cleverly creates a fictionalised biopic about Emily Bronte using the author's own vivid storytelling style. So the film has a remarkable mix of surging romance, family drama and moody horror. This may create an uneven tone, which drags in the gloomier sections, but it also allows for some unexpected humour and emotion. And it gets under the skin of an artist with a distinct voice. In rural 1840s West Yorkshire, Emily (Mackey) loves creating stories with older sister Charlotte (Dowling) and younger Anne (Gething), under the watchful eye of their father Patrick (Dunbar) and Aunt Elizabeth (Jones). Emily is aware of her reputation as an oddball, and enjoys puncturing pretentious people she meets. So she's delighted when her partner in crime, wayward brother Branwell (Whitehead), returns home after his hedonistic stint in London goes wrong. Then hot curate Weightman (Jackson-Cohen) arrives in town, and Emily begins studying French with him. She also feels a swell of lusty passion. While O'Connor takes liberties with the historical narrative, she skilfully maintains a present-day resonance without ever tipping over into Bridgerton-style pastiche. Cinematographer Nanu Segal's subtly handheld camerawork makes the settings look vivid and lived-in, unlike most period movies. And while the sexy montage sequence seems a bit trite, there's a genuine sense of physical connection between Emily and Weightman that feeds into the film's inventive deployment of Wuthering Heights iconography. The actors create strikingly textured characters, each of whom clearly has his or her own internal world. Mackey holds the camera beautifully, remaining sympathetic even as the bullheaded Emily goes on the attack. But she's always grappling with her thoughts, especially where they come up against the accepted religiosity and moralistic teachings that swirl around her. She and the engaging Whitehead create a superb bond as the more open-minded family members. And while her connection with Jackson-Cohen starts as a meeting of minds, it becomes something properly steamy. These gothic romance touches add some remarkably involving emotions to the story, even as it travels down hypothetical sideroads or shifts the real-life timeline for dramatic impact. All of this feeds in skilfully to a wider exploration of the artistic temperament, and the importance of unapologetic soul-baring that's required to create something that connects honestly to audiences. Wuthering Heights is one of the most acclaimed English-language novels ever written. It may be a stretch to imagine that the author lived it in her own short life, but this film carries its own kick.
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© 2022 by Rich Cline, Shadows on the Wall | |||||
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