Olivia Williams Ms. The "natural daughter of someone" who boards at a nearby school and whom Emma obsessively tries to pair off with Mr. Elton always has to line up as a naive, enthusiastic and attractive yet awkward but not debilitatingly so supporting player to the main character.
The Australian actress, fresh off her breakout role in Muriel's Wedding , gained weight to play Harriet, who's described in the book as "short, plump and fair, with a fine bloom, blue eyes, light hair, regular features and a look of great sweetness. Louise Dylan "does full comic justice to Harriet's preposterous infatuations" in what can be a "thankless role," according to the New York Times take on the BBC miniseries.
Philip Elton, the local vicar, is after Emma, who's trying to marry him off to Harriet, who in reality fancies Robert Martin—a successful farmer but not a suitable match for Harriet in Emma's eyes. Elton quickly marries himself off to Augusta, another young lady of means, after Emma rebuffs him. That's Dominic Rowan as the opportunistic clergyman in the ITV film, while Alan Cumming steals all of his scenes as usual in the big-screen version.
Elton—in Variety 's words —"as a bit of a bumbling incel, when he might more accurately be thought of as a fuccboi. And then, always there, apprising Emma of her missteps while pining away for her at the same time, is her friend and neighbor Mr.
George Knightley. Ten years older than Emma finally, films with license to do what they were going to do anyway , Mr. Knightley has known her all her life and feels uniquely qualified to judge accordingly. For instance, he concluded that Emma never liked Jane Fairfax because she wished she was more like her. Chemistry between those two is the crux of Emma onscreen, and it hasn't always panned out.
Close Menu. Submit Search. Leave a comment. Nadiya Greaser, Staff Writer. Navigate Left. Navigate Right. The Pitt News. Share on Facebook. Share on Twitter. Share via Email. Search Submit Search. Activate Search. Martin, a humble widowed farmer Connor Swindells , and based on Harriet and Mr. This fails spectacularly, since Mr. Elton falls for Emma instead of Harriet. There always is in Austen. Emma is a glorious brat. Meanwhile, Mr. Knightley Johnny Flynn sees through Emma. He calls her on it.
Match-making is tricky. It requires subtlety and finesse. It probably, also, requires a professional. Left in the hands of enthusiastic amateurs, match-making often leads to heartbreak.
Jane Austen understood this dynamic all too well, and in Emma— the last novel to be published during her lifetime—she brings us an irrepressible and confident match-maker, albeit a totally incompetent one. Emma thinks she knows best, when in reality she wreaks havoc. Charm is one of the hardest qualities to capture or even explain , and there is genuine charm here.
Here's why you'll probably love this movie if you're into these types of films, but also why it won't win you over if you're not. Becoming too involved in certain areas, she begins to disrupt those relationships.
In particular, she complicates things with her friend Harriet Mia Goth when she convinces her to make certain decisions. This made for a slightly frustrating experience for me, as I wasn't too fond of her actions.
With that said, Anya Taylor-Joy as the titular character was fantastic, as she always is. Although I haven't seen tons of movies featuring Taylor-Joy in a meaty role like this, I have to admit that her being in a film does pique my interest. Her, along with the supporting cast of this movie, all do a great job in sucking you into this time period. I felt like I was transported back into the s, which is no small feat.
Movies like this simply don't work unless the production design is flawless and this film was pretty close to perfect in that regard. Being in the business as a production designer for over 25 years, Kave Quinn did some great work here.
This brings me to whether or not you should watch the movie in general. Fans of stories from this time period that are prone to liking movies like this from time to time will probably love this film, because all the elements that these movies usually bore me with are extremely well done, admittedly. There is a flip side to that though.
I've never been interested in movies like this unless they broke new ground and made a fresh new spin as The Favourite did in This movie was very well done though, so I definitely feel a positive grade is warranted.
In the end, Emma. For anyone else, I fear it will either mildly entertain you or leave you bored. The 2-hour run time definitely felt its length for me and I didn't feel that the story went in many interesting directions.
I've never exposed myself to this story in the past though, so perhaps this wasn't the best version to start with. Overall, it's a well-made period piece that just didn't interest me all that much.
KJ P Super Reviewer. Mar 10, If you're going to see a Jane Austen movie, chances are you already know what you're signing up for. This new edition of Emma. It's only a dash but it's definitely enough to set the movie apart from its more austere brethren, which will either make it a fresh and reinvigorating take on the material for an audience or a quirky misfire not playing to the strengths of its source material.
I fall somewhere in the middle, as I'm not the biggest fan of Austen's comedic voice but appreciate her point of view and the way she can drop you into these very specific, very rarefied world of class, privilege, and ignorance.
The movie's pacing is quite slack and the scene-to-scene urgency can seem a bit in doubt, which works with the more arch portrayal but also makes the movie feel very long and borderline tedious at parts. The technical asides of Emma. Ana Taylor-Joy Glass is a sprightly choice as the titular matchmaker and her best moments are when she embraces the extremes, whether it's being haughty, awkward, contentious, or the occasional dose of slapstick.
She navigates the complicated minefield of others affections, trying to stay above it, while finding herself drawn to the free-spirited Mr. Knightly Johnny Flynn , who is the only reason this movie is rated PG thanks to a brief flash of rear nudity. Mia Goth Suspiria is winning as a demure women feeling the highs and lows of love thanks to Emma's friendly intervention. It is such an amusing change of pace for Goth, often performing as a sexpot.
The real standout are the comic actors doing the most with their supporting turns. Bill Nighy Detective Pikachu is highly amusing as the fussy hypochondriac father and Miranda Hart Spy is a welcomed presence as the oblivious, constantly nattering Miss Bates. It's Emma's show, though, and Taylor-Joy is an enjoyable lead surrounded by an exquisitely manufactured world of old. If you're an Austen fan, Emma.
If you're not, this won't exactly be the movie that brings you over into the fanbase. Nate's Grade: B. Nate Z Super Reviewer. Mar 07, Now, music video director Autumn de Wilde, making her feature debut and acclaimed novelist turned screenwriter Eleanor Catton The Luminaries bring us a new interpretation of the classic and will surely give rise to Anya Taylor-Joy The Witch as well as several of her co-stars. Is this remake necessary? Probably not, but it's a perfectly entertaining, beautifully realized film nonetheless.
As those familiar with the tale, Emma Woodhouse Taylor-Joy lives with her father on a wealthy countryside estate. Filled to the brim with confidence and a slightly condescending attitude of her peers, Emma has no interest in marrying, but loves to play matchmaker. Throughout the story, we experience a musical chairs version of couplings and breakups, leading to Emma's own self-realization.
It's a fluffy yet sometimes incisive takedown of a privileged society. Unlike the more comedic Paltrow version, this telling has some bite.
The differences in execution lie largely with Taylor-Joy's more acidic interpretation of the title character. She's a bit of a mean girl, and in one instance, she's completely unsympathetic.
Additionally, de Wilde along with Production Designer Kave Quinn and Cinematographer Christopher Blauvelt, opt for highly designed dioramas and vibrant pastels to give Wes Anderson a run for his money.
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