Emma.
Written by Andreas Babiolakis
We are playing catch up by reviewing films that are a part of the current awards season.
Usually when a directorial debut is an adaptation of a period piece work that’s been done to death, that means that this is their niche, and they’re sticking with it. I get a bit of a different vibe from Autumn de Wilde’s Emma., which should not have taken me over a year (and some Oscar nominations) to getting around to (my apologies: I had begun my many decades lists around this time). In a way, it feels like the same kind of result that Sofia Coppola was aiming for with her version of Marie Antoinette, although far less drastic (no Converse shoes or contemporary music). Emma. is very much Jane Austen’s story through and through, but there’s enough modern wit and self awareness that this feels like a refreshing take of an often repeated story.
Even though I don’t think Emma. is different enough to stop the world from revolving, I think it’s uniqueness is so identifiable, and that the film is certainly memorable, even to people who may not like period pieces or films based on classic stories. The pastel colours and extremely intricate designs (of sets, costumes, and even hairstyles) are like endless details you can never stop looking at, and that alone was worth the price of admission. This is a period piece of the ‘20s, and it marked its place very early last year; if this was the guinea pig for this decade, then I think Autumn de Wilde and company did really well. I think its restraint to not go full-on Coppola is admirable (I love Coppola, but it’s also good to be yourself as a storyteller), because Emma. feels like it is allowed to stand on its own two feet. It might not be quite as singular as you might have expected from trailers and such, but it’s somehow a very welcome paradox: a film with some risks, that still feels harmless to try.
Emma. is a Jane Austen adaptation, but with enough of its own identity to warrant love by any viewer.
At the centre of it all is Anya Taylor-Joy, who feels unstoppable at this point in time (what can’t she do?). She definitely embodies the young, modern elements of Emma. (which, again, are minimal and are primarily found in its self awareness), but never strays away from the authenticity of the original story that the film still wishes to carry. So, Taylor-Joy does both, with a wink to the viewer without ever literally winking at us. Many characters are performed similarly; one other great example is Bill Nighy stumbling into every scene as Mr. Woodhouse, like he had just woken up. As a result, Emma. isn’t just pretty to look at, as it is both charmingly funny and also ha-ha funny. There’s enough freshness in this version that Emma. is absolutely worth a try. Even if this isn’t my own personal favourite version of a Jane Austen story ever, I can imagine it could be to a new generation of cinephiles, or that it is prophetic of what classic adaptations are on their way.
Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.