Emerald Fennell’s reimagining of Emily Brontë’s Wuthering Heights is proving to be one of the most divisive films of the year, sparking a critical debate that extends beyond simple praise or condemnation. Released ahead of Valentine’s Day, the film starring Margot Robbie and Jacob Elordi has drawn comparisons to everything from bodice-ripping romance novels to the bawdy humor of the Carry On film series.
The film’s approach to Brontë’s gothic tale of passion and revenge has clearly ruffled feathers. Some critics have accused Fennell of prioritizing style over substance, while others have lauded her bold and provocative interpretation. The sheer range of reactions suggests a film deliberately designed to provoke, and one that isn’t afraid to lean into the more lurid aspects of the source material.
The Independent’s Clarisse Loughrey delivered a particularly scathing review, awarding the film just one star and describing Fennell’s adaptation as “astonishingly bad” and “like a limp Mills & Boon.” Loughrey took issue with the performances of Robbie and Elordi, suggesting they were pushed “almost to the border of pantomime,” and criticized Fennell’s portrayal of class dynamics, arguing that it unfairly characterized the poor as “sexual deviants” and the rich as “clueless prudes.”
That sentiment – the film’s perceived overemphasis on sexuality – was echoed by Dulcie Pearce of The Sun, who suggested that the film had replaced significant portions of Brontë’s novel with content more akin to the romance novels published by Mills & Boon. Pearce characterized the film as “over-stylised” and ultimately “sex over substance.”
However, not all critics were so dismissive. Danny Leigh of the Financial Times offered a more measured assessment, awarding the film three stars. He described the film’s sexual tension as creating a mood “like an arthouse Carry On,” complete with “lingering shots of gloopy egg whites.” Leigh also noted the film’s successful integration of a soundtrack by Charli XCX, suggesting it was so captivating that its presence went largely unnoticed.
The comparison to the Carry On series wasn’t isolated. Donald Clarke of the Irish Times, in a three-star review, observed that “the surprise for many will be how closely this supposed deconstruction sticks to the shape of Emily Brontë’s original narrative.” Clarke pointed out that even the opening scene felt more akin to a Carry On parody than a serious adaptation of Brontë’s work.
Beth Webb of Empire, also awarding three stars, offered a more positive take, describing the film as “undeniably expertly crafted.” Webb praised Fennell’s willingness to “throw everything” at the adaptation, highlighting Elordi’s growing star power and lamenting that the film’s “electrically erotic energy” wasn’t sustained throughout its runtime.
The marketing campaign itself has acknowledged the film’s unconventional approach, utilizing quotation marks around the title – “Wuthering Heights” – to signal that this is Fennell’s personal interpretation of the classic novel. This framing suggests a deliberate attempt to distance the film from traditional adaptations and position it as a bold, reimagined take on the source material.
The controversy surrounding the film extends beyond its stylistic choices. Reports indicate that the film features BDSM-inspired scenes, which have drawn criticism from some quarters. The casting choices, particularly Robbie and Elordi as Cathy and Heathcliff, also attracted attention, with some questioning whether the actors were suited to embody the complex and tormented characters.
The mixed critical reception suggests that Wuthering Heights is a film that will likely polarize audiences. Whether it will ultimately be remembered as a daring and innovative adaptation or a misguided misfire remains to be seen. However, one thing is certain: Emerald Fennell’s take on Brontë’s classic is anything but forgettable. The film’s release, timed to coincide with Valentine’s Day, adds another layer of irony to the debate, given the story’s exploration of obsessive and destructive love.
The film’s success will likely hinge on whether audiences are willing to embrace Fennell’s provocative vision or prefer a more faithful adaptation of Brontë’s beloved novel. The debate, at least, is guaranteed to continue.
