Review: Decadence, Delight, and 'Emma.'
There are movies that have its audience in a constant state of laughter, ranging from full on chortles to stifled smiles, and there are movies that do not ease the audience into its own frequency, instead plunging right in. I am happy to report that Emma. is a bit of both.
“Consequence, I do not want" is not one of the earliest lines spoken by Anya Taylor-Joy's titular Emma in the newest adaptation of the Jane Austen classic, but it is certainly one of the earliest truths. For most of the film's runtime, Emma is a British aristocrat who has taken to playing matchmaker for her friends and family. For herself though, she sees no desire for love nor responsibility. Why would she when she seemingly has everything she could ever want? The film’s opening text describes her simply as “handsome, clever, and rich.” Isn’t that alluring to all of us on some level? Unfortunately for Emma, and fortunately for the audience, “handsome, clever, rich” is a facade. Precocious, regal, spoiled, and naive would be more apt - at least initially. If you’re not careful though, you might find more heart in this period piece than you’re prepared for.
Joy's competent performance as Emma plays to her strengths. Her quick wit and ability to subtly flash a gradient of emotions across her features is not unexpected, especially after her turn in films like Thoroughbreds, but they are front and center in Emma.. And while that might not be a huge shock for an Austen novel whose title is dedicated to it’s lead, the movie’s performances actually set apart its supporting characters. Seventy-year-old Bill Night spryly bounds onto screen as Emma's paranoid father, puttering and murmuring without missing a step for the film's entire runtime. Mia Goth shines as overly exuberant Harriet, friend and follower of Emma. Johnny Flynn’s Mr. Knightley spits every 1800’s barb with a ferocity and compassion that contrasts with the occasional cruel insult that escapes our own protagonist’s mouth. Top to bottom, the ensemble shines.
But the stars of the film are behind the camera. Autumn de Wilde’s blocking is meticulous, enabling her to squeeze every drop of humor and subtext out of each glance and sigh that characters share. Wilde’s unique composition is such a refreshing ripple in the period piece genre that similarities to off kilter kin like The Favorite or Marie Antoinette are sure to pour in. And there is a vibrancy to the production design that caused my eyes to dart around the screen admiring the endless pastel interiors or intricate textiles.
To paraphrase Austen herself, if I had liked the film less I would be able to talk about it more. But for now, I’d recommend taking the plunge with Emma..
