Emma. (2020)

Emma, directed by Autumn de Wilde, brought a fresh and delightful adaptation of Jane Austen’s beloved novel to the big screen. While Austen's work has been adapted numerous times, de Wilde’s version offers a unique and vibrant take on the classic, with striking visuals, witty dialogue, and a sharp sense of humor that both honors the source material and reinvents it for a modern audience. With a talented ensemble cast, especially Anya Taylor-Joy in the title role, this adaptation stands out for its visual flair, charm, and modern sensibilities while staying true to Austen’s wit and social commentary. 

At the heart of Emma lies its titular character, Emma Woodhouse (Anya Taylor-Joy), a young, wealthy woman living in the fictional village of Highbury in Regency-era England. The story follows Emma’s attempts at matchmaking, often with unintended consequences. Having successfully matched her governess, Miss Taylor (a lovely portrayal by Tanya Reynolds), Emma believes herself to be an expert in the art of love and relationships. However, her meddling and attempts to pair up her friends and acquaintances lead to a series of romantic entanglements that reveal her own misunderstandings of love and her place within her social circle. 

Emma’s misguided matchmaking, her complex relationships with her family, and her own internal growth throughout the film are central to the narrative. Throughout, she faces personal challenges and emotional misjudgments, particularly regarding her feelings toward her close friend, the kind-hearted but somewhat awkward Mr. Knightley (Johnny Flynn). Their relationship is at the heart of the story, and while the two characters spend much of the film in an intellectual and social dance, they ultimately realize the depth of their feelings for each other. 

One of the most immediate and striking aspects of Emma is its visual aesthetic. The film is a sumptuous feast for the eyes, with its carefully composed shots, vibrant costumes, and lush landscapes. De Wilde, a director known for her work in music videos and photography, brings an artful approach to the film’s visuals. The costumes, designed by Alexandra Byrne, are a particular highlight, reflecting both the period setting and the characters' personalities. Emma’s fashionable outfits mirror her social status and vanity, while other characters, such as Harriet Smith (Mia Goth), are dressed in simpler, more modest clothing, visually reinforcing their differing social positions. 

The film’s cinematography, led by Christopher Blauvelt, is equally impressive. The use of wide shots captures the beauty of the English countryside, while intimate close-ups focus on the characters’ nuanced expressions, revealing the emotional undercurrents that lie beneath the surface of their conversations. The visual style adds a layer of elegance and charm to the film, elevating even the most ordinary scenes. There’s a meticulousness to every frame, whether it’s the interiors of the houses or the vibrant greenery of the outdoor scenes. The film is deeply aware of its period setting but also feels refreshing and modern in its execution. 

Anya Taylor-Joy’s portrayal of Emma Woodhouse is a revelation. Taylor-Joy, best known for her breakout role in The Witch and later in The Queen’s Gambit, brings a refreshing vibrancy and energy to the character. Emma, in many adaptations, can come across as overly smug or aloof, but Taylor-Joy brings a certain depth to the role that makes Emma both sympathetic and relatable. She exudes a charming confidence and intelligence but also portrays Emma’s naivety and emotional immaturity with nuance. 

The way Taylor-Joy’s performance evolves throughout the film is particularly impressive. At first, Emma is depicted as somewhat spoiled, self-assured in her judgment, and often blind to her own flaws. However, as the story progresses and Emma begins to confront the consequences of her meddling, Taylor-Joy subtly shifts the character’s demeanor, showing Emma’s growing self-awareness and emotional maturity. Emma’s journey is one of personal growth, and Taylor-Joy’s ability to convey this arc is one of the film’s strongest qualities. 

The supporting cast in Emma is equally exceptional, bringing their own unique qualities to the film. Johnny Flynn plays Mr. Knightley, Emma’s close friend and the one person who consistently challenges her. Flynn’s portrayal of Mr. Knightley is both grounded and charismatic. He presents a man who is not easily swayed by social expectations or Emma’s youthful confidence, and his growing affection for her feels authentic and earned. The chemistry between Taylor-Joy and Flynn is palpable, and their interactions provide much of the emotional core of the film. 

Mia Goth shines as Harriet Smith, the sweet and somewhat naive young woman whom Emma attempts to match with various suitors. Goth’s portrayal of Harriet captures her innocence and vulnerability, and her gradual emotional transformation is touching. Meanwhile, Josh O’Connor’s portrayal of the foppish and bumbling Mr. Elton is a delightful addition, offering comedic moments that balance the film’s more serious themes. 

Other notable performances come from Gemma Whelan, who plays the outspoken and sharp-tongued Mrs. Weston, and Bill Nighy, who takes on the role of Emma’s hypochondriac father, Mr. Woodhouse. Nighy’s performance brings a dry wit and humor to the role, adding another layer of charm to the film’s ensemble. 

At its core, Emma is a comedy of manners, and de Wilde’s adaptation doesn’t shy away from the sharp wit and social critique that makes Jane Austen’s work so enduring. The film cleverly comments on issues of class, social expectations, and romantic idealism, all while maintaining a playful, light-hearted tone. Emma’s matchmaking schemes, while often misguided, reveal the subtle ways in which people navigate their social worlds, whether it’s Emma’s desire to control her environment or her constant grappling with her own privilege. 

The humor in the film is rooted in both the absurdity of Emma’s actions and the witty dialogue that defines Austen’s writing. The film doesn’t force the humor, instead allowing it to arise naturally from the characters’ interactions and misunderstandings. Emma’s awkward moments, Mr. Elton’s pompous behavior, and even Harriet’s unrequited affections all contribute to a lighthearted atmosphere, while still offering biting insights into the complexities of social relationships. 

Autumn de Wilde’s Emma is an adaptation that both honors the timelessness of Jane Austen’s original novel and brings new life to it. With its stunning visuals, sharp wit, and a standout performance by Anya Taylor-Joy, it’s a film that appeals to both Austen purists and newcomers to the story. While the plot remains familiar to anyone who knows the source material, de Wilde’s approach adds a layer of energy, sophistication, and humor that elevates this adaptation. In Emma, we are reminded of Austen’s unparalleled ability to blend romance, comedy, and social commentary, all while delivering a deeply human story about growth, self-awareness, and the messiness of love.

 The 2020 adaptation of Emma., directed by Autumn de Wilde, offers a delightful and visually stunning reinterpretation of Jane Austen’s beloved novel. With a fresh, playful energy and a keen eye for detail, this version brings a modern sensibility to the Regency-era classic while staying true to its wit and social commentary.

Anya Taylor-Joy shines as Emma Woodhouse, the wealthy and self-assured heroine whose well-meaning matchmaking schemes wreak havoc in her small English village. Taylor-Joy delivers a performance that's both charming and nuanced, capturing Emma's growth from a naive, self-centered girl to a more thoughtful and considerate young woman. The supporting cast, including Johnny Flynn as the dashing yet cynical Mr. Knightley, provides strong chemistry and depth, particularly in their delightful verbal sparring and tender moments.

Visually, Emma. is a feast for the eyes. The costumes, designed by Alexandra Byrne, are exquisite, each outfit reflecting the character’s personality and social standing. The cinematography is equally impressive, with lush landscapes, opulent interiors, and carefully composed shots that mirror the elegance and wit of the story. The film’s tone is further enhanced by the quirky and anachronistic soundtrack, featuring playful renditions of classic pop songs that perfectly complement the film’s contemporary flair.

While the pacing might feel a bit slow for some, especially if you're familiar with the story, Emma. 2020 is an engaging experience for both Austen fans and newcomers. It blends traditional storytelling with a modern twist, creating a version of the classic that's as entertaining as it is thought-provoking.

Ultimately, Emma. is a heartwarming and witty exploration of love, self-discovery, and social status, brought to life by a talented cast and a creative vision that feels both timeless and fresh. Whether you're a die-hard Austen fan or simply seeking a visually captivating period drama, this adaptation is well worth the watch.

I would give Emma. (2020) a 4.4 out of 5.

The film is a beautifully crafted, delightful adaptation of Jane Austen’s classic. Anya Taylor-Joy's performance is stellar, the visuals are stunning, and the quirky, contemporary flair adds a fresh spin without overshadowing the original story. The pacing might be a bit slow for some, but it doesn’t detract significantly from the overall charm and wit. It's an engaging and stylish period drama that's both entertaining and thought-provoking, making it a standout among Austen adaptations. 

 Emma (2020) is a delightful adaptation of Jane Austen's classic novel, offering a fresh and modern take on this timeless tale. Directed by Autumn de Wilde, the film stars Anya Taylor-Joy as the titular Emma Woodhouse, a young woman with a penchant for matchmaking.

Taylor-Joy delivers a captivating performance as Emma, capturing the character's wit, charm, and occasional naivety. The supporting cast, including Johnny Flynn as Mr. Knightley, Bill Nighy as Mr. Woodhouse, and Mia Goth as Harriet Smith, also shines in their respective roles.

The film's visual style is a feast for the eyes, with stunning period costumes and lush cinematography. De Wilde's direction is playful and energetic, bringing Austen's world to life in a vibrant and engaging way.

Emma is a charming and witty romantic comedy that celebrates the joy of friendship, love, and self-discovery. It's a must-watch for fans of Jane Austen adaptations and anyone looking for a delightful and uplifting film.

I’m a big fan of Jane Austen’s novels and their various adaptations. I loved the 1996 adaptation of Emma with Gwyneth Paltrow and Jeremy Northam. It had sparkle, panache, simmering flirtation, and real heart. Sadly, the 2020 production of Emma is all style and no substance. The good parts: stunning costumes with beautiful and meticulous attention to detail. The sets and the scenery were also quite wonderful, although much of it came across as moments or vignettes one could only look at and I never felt the characters actually lived in any of the houses/locations. They seemed to ‘pose’ in various screen moments so the audience could look at them. The colour palette, however, was also picturesque and quite lovely.

Of all the characters only Mr. Woodhouse (Bill Nighy - you can't go wrong there) and Miss Bates (the incredible Miranda Hart who managed to steal every moment of any scene she graced) were appealing. Emma (Anya Taylor-Joy) came across as pert, self-satisfied, meddlesome, selfish, completely divorced from the reality of life, and only interested in people as playthings. She had a sharp, foxy look as well. Miss Smith was as thick as a plank and boring. Mr Elton was oily but the new Mrs Elton was hideously vivacious and quite watchable. Johnny Flynn played Mr. Knightly like a ruffian and he had absolutely no grace and charm, and no chemistry at all with Emma – unsurprisingly as her character was interpreted as only capable of being in love with herself. The whole Frank Churchill brewing scandal went absolutely nowhere. I think the actors were misdirected. I also think the producers had a shallow approach that did not justice to the other themes. A big disappointment. 3/5