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Alexra Feb 21

Emma 2020 Full Movie


In 1800s England, a well meaning but selfish young woman meddles in the love lives of her friends. Readers of Jane Austen are a feisty, fearsome bunch, with fiercely held opinions over which (if any) of the cinematic adaptations of her novels are good. One’s mileage may vary based on preference and taste, as well as more, shall we say, earthy factors. (After all, the most iconic moment in the entire Austen cinematic universe remains Colin Firth, as Mr. Darcy, emerging from a lake in a wet shirt in the 1995 BBC miniseries adaptation of Pride and Prejudice. This lifelong Austen reader has found herself flummoxed by the tone of most Austen adaptations.


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They’re all comedies, of course — Austen practically invented the romantic comedy — but few of them lean into the wicked satire that drips from nearly every page. Austen’s novels, to one degree or another, acerbically skewer the self-important landed gentry of her time and, to a lesser extent, the people who aspire to be in their company. What made her so masterful was her rare ability to combine that satire with authentic romance and unforgettable heroines, who have real and complex desires of their own. But take Austen’s satire out of Austen, and you’re left with swoony, frothy romances in Regency dresses.



 The characters in the new Emma. show off more skin than you might expect from a Jane Austen adaptation. To be sure, other takes on the author’s work have tried to add some sizzle to all that Regency-era restraint — consider Colin Firth emerging from the lake in that shirt in the 1995 BBC Pride & Prejudice, a scene enshrined in statuary. Or consider the 2005 Keira Knightley–Matthew Macfadyen version, whose U.S.-only ending enraged purists by showing the newly married Darcys sharing some quite possibly postcoital kisses. But the nudity in Emma. isn’t intended to titillate. It’s mischievously matter-of-fact, more of an accompaniment to the main comedy of manners than a means of goosing it for modern sensibilities.



The “handsome, clever, and rich” 20-year-old of the title (Anya Taylor-Joy) seizes a private moment after she’s dressed to hike her gown back up and warm her bare backside by the fire. Her friend, lecturer, and eventual lover Mr. Knightley (Johnny Flynn) is first seen stripping down after a ride and then being helped into a new outfit by his valet. These moments underscore the luxurious norms of a gentry existence, getting dressed like living dolls by barely acknowledged servants. But they also emphasize that these characters do indeed have bodies beneath those empire waist gowns and carefully tied cravats, regardless of how much they pretend their lives have only to do with the mind. Emma. occupies a perplexing if ultimately pleasurable spot on the Austen industrial complex’s twin axes of faithful/revisionist and realistic/stylized.

The film is the directorial debut of photographer and music videographer Autumn de Wilde, with a script written by The Luminaries novelist Eleanor Catton, and it’s far from staid. The muted pastels of de Wilde’s palette and the flat precision of her compositions are so intensely of the moment that when the title appears onscreen, in a serif font in millennial pink, it looks like it could be an ad for a start-up that’s setting out to disrupt houseplants (and no, the punctuation is not optional).

The tone aims for an absurdity that at its heights can recall The Favourite without the despair, especially when its characters scurry across the idyllic countryside, dwarfed by a vast stretch of sky, or when Knightley flings himself onto the floor of his estate in boneless exasperation after a ball. It’s all very droll, though it can also feel distant, as though the romance at its core can only be reached by peeling away layers of irony.

At its weakest, it’s the costume-drama equivalent of seeing an old movie with an audience that laughs at everything that’s out of date. At its best, it’s effervescent. Leads Taylor-Joy (an inevitable future star) and Flynn (perfectly sad-eyed) are lovable and surrounded by some very funny supporting performances from Mia Goth as Emma’s friend and underling, Harriet, Miranda Hart as the garrulous Miss Bates, and Bill Nighy as Emma’s adoring dad. There is, however, a reason that the most successful adaptation of Austen’s 1816 novel is Clueless, which extracted the story from its 19th-century setting and transposed it to a ’90s Beverly Hills high school.

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