Wuthering Heights Review
Whenever a classic story gets adapted for the big screen, there’s always the question of what can be done differently. Recent films, like Hamnet and Guillermo del Toro’s Frankenstein are good examples of this by translating their original material in ways that captivate new audiences. Of course, Wuthering Heights isn’t unfamiliar with getting film adaptations as there have been dozens in the past. From the 1992 version starring Juliette Binoche and Ralph Fiennes to the 2011 version starring Kaya Scodelario, this story continues to intrigue. Now, Saltburn’s Emerald Fennell is throwing her hat in the ring with her own spin on Emily Brontë’s story first published in 1847.
For those who haven’t read the original Brontë novel, Wuthering Heights follows two individuals: the affluent Catherine (Margot Robbie/Charlotte Mellington) and her servant Heathcliff (Jacob Elordi/Owen Cooper). In their youth, Catherine and Heathcliff grow an affection for one another despite Catherine’s abusive father. After Catherine goes off to marry into the neighboring Lintons, Heathcliff makes a grand return to win her heart back. What plays out is a test of love and war as the two former lovers fight for each other’s attention.
Even if there are some who are unsure about digging into Brontë’s story, the one thing that will certainly grab viewers’ attention are the performances. As a love story on its own, Robbie and Elordi’s chemistry are undeniably captivating. While they both may be a bit playful and slightly devious in the first act, the moments in the present really highlight how royally despicable and desperate they truly are. Yet, their performances walk a fine line between continuing to put up their emotional facades and letting their thoughts run wild that makes this pairing of Brontë’s stand out from their predecessors.
Robbie’s Catherine is a conflicted aspirant: she wants to have financial stability for herself, but her heart still lies with Heathcliff. There are a few moments that allow Robbie’s heightened mannerisms to show Catherine’s internal stirring, whether that be a heated confrontation with Heathcliff while he’s working to a montage once she finds “peace” with Mr. Linton (Shazad Latif). In that period of time Catherine has with Linton, there’s this passive, if somewhat sincere, feeling that she wants to live this new life. However, through Fennell’s purposefully dramatic tone, it allows these cracks of truth to slightly peak while all of these external factors pile up in her mind.
Meanwhile, Elordi’s Heathcliff transforms from this disgruntled, if somewhat empathetic, man to someone who becomes more “monstrous” in an intentional way. The way he plays tricks on Catherine at the beginning, from something simple like leaving her in a tree to a reoccurrence where he leaves eggs hidden in her bed, adds some light comedy to the film. However, once he’s back in Catherine’s life, the moves he makes can range from being devilish to deeply troubling. Although, it can’t go without saying how Elordi’s casting as Heathcliff wasn’t controversial as Brontë detailed the character as being “dark-skinned,” which became a prominent issue with many.
While it certainly proved interesting to see how Fennell, in a way, switched Heathcliff and Mr. Linton around, what Heathcliff does in the third act would certainly put off many. Considering what he does with Mr. Linton’s innocent sister, Isabella (Alison Oliver), and using her as a tool to get back at Catherine, I believe that that would also lead to much more controversy than what’s already happened. That being said, Elordi confidently takes the reins of adult Heathcliff, while Cooper’s performance happily lays down the foundation for the spark between the main duo to ignite.
Outside of the main duo, Fennell does a good job making the other characters of Wuthering Heights feel included into this heated rivalry. Mainly, what’s done with Nelly (Hong Chau) is interesting because she’s cunning enough to play the long game and strategically keep Catherine and Heathcliff separated for her own good. The way that certain conversations Nelly has with Catherine, both in the past and in the present, are also purposefully captured in a way that makes her seem like a nuisance. Of course, the real nuisance that the main duo have to deal with is Cathy’s father (Martin Clunes), who’s as drunken and arrogant as they come. Still though, the film also takes its time to let this gradual degradation play out.
As for the audiovisual elements of Wuthering Heights, they all come together in a way that feels angelically bleak, yet wondrous. Charli XCX’s bassy, techno-poppy songs are carefully interwoven into Anthony Willis’ orchestral score to make each moment, from the romantic ones to the dark ones, hit hard. Furthermore, Linus Sandgren’s cinematography, and the general set design, make this Victorian-esque world feel like it’s the backdrop to Fennell’s grand play. Everything just blends well to enhance the stakes of this hot story, which doesn’t begin to include the sex scenes.
Romantically foreboding, Emerald Fennell’s Wuthering Heights takes a classic piece of literature and confidently updates it for today’s generation thanks to Robbie and Elordi’s striking on-screen presence.
Wuthering Heights releases in theaters on February 13.
Rating: ★★★★
_
Christopher Gallardo is a freelance entertainment writer and critic. While not running The Reel Roller, Chris can be found writing reviews and breakdowns on all things films and TV. Outside of entertainment writing, he’s currently taking classes for a Bachelor’s of Science with a minor in Digital Media & Journalism. Plus, he loves Percy Jackson, animated films and shows, and Fallout! Follow Christopher on Instagram & X.
Wuthering Heights Review
Wuthering Heights Review