Emerald Fennell’s adaptation of Emily Brontë’s Wuthering Heights, arriving in theaters on in Australia and in the UK and US, is being described as a visually arresting, if somewhat detached, reimagining of the classic novel. Starring Margot Robbie as Catherine Earnshaw and Jacob Elordi as Heathcliff, the film leans heavily into a heightened aesthetic, prioritizing style over a deep exploration of the source material’s emotional core.
The adaptation, as reported by multiple outlets, presents a decidedly camp sensibility. One review characterizes it as a “20-page fashion shoot of relentless silliness,” complete with ripped bodices and a suggestion of BDSM undertones. Robbie’s Catherine is portrayed as a carefully constructed belle, while Elordi’s Heathcliff embodies a brooding, outsider figure – a comparison drawn to a “moody, long-haired, bearded” Charles Manson, albeit one who later undergoes a “Darcyfication” with a shorter hairstyle. This stylistic choice, while visually striking, appears to distance the film from the raw, untamed passion that defines Brontë’s work.
Fennell’s approach involves significant departures from the novel’s structure. Notably, the character of Hindley Earnshaw, Catherine’s brother, has been entirely removed, with his destructive tendencies attributed to the father figure. The second half of the novel, focusing on the next generation, has been omitted. This streamlining, while potentially making the story more accessible, also sacrifices a significant layer of complexity and consequence. The film also appears to sidestep the issue of Heathcliff’s racial identity, a point that some critics suggest is glossed over with the use of ironic framing devices.
The casting choices have garnered attention. Owen Cooper, known for his role in the acclaimed Netflix drama Adolescence, portrays the young Heathcliff. Martin Clunes takes on the role of Catherine’s father, described as a “roistering old twinkly eyed squire,” and reportedly delivers a performance that nearly steals the film. Shazad Latif plays Edgar Linton, the wealthy neighbor who becomes Catherine’s husband, while Alison Oliver embodies Isabella Linton, Edgar’s sister, with a knowingly subversive portrayal that channels the energy of Sophie Thompson.
Hong Chau plays Nelly Dean, the housekeeper and narrator through whose perspective much of the story unfolds. The role of Nelly is crucial, as she is presented as an unreliable narrator, subtly influencing the events and perceptions within the narrative. The film reportedly acknowledges this ambiguity, with Catherine directly confronting Nelly about her role in the unfolding tragedy.
The film’s soundtrack, featuring music by Charli xcx, contributes to the overall heightened aesthetic. The review suggests a frenetic, Baz Luhrmann-esque style, culminating in a “tsunami of tears” and a feeling of manufactured emotion. This stylistic choice, while visually dynamic, risks undermining the genuine emotional weight of the story.
While Fennell’s previous films, Saltburn and Promising Young Woman, have been praised for their boldness and challenging themes, Wuthering Heights appears to lack the same visceral impact. Comparisons have been drawn to Andrea Arnold’s 2011 adaptation, which, despite its flaws, was lauded for its commitment to portraying the passionate truth of the central love story. Fennell’s version, in contrast, is described as a “luxurious pose of unserious abandon,” prioritizing aesthetic spectacle over emotional depth.
The film’s reception suggests a divergence from the novel’s core themes. While the story revolves around obsession and destructive passion, the adaptation seems to present these elements as a stylized performance rather than a genuine exploration of human vulnerability. The review concludes that the film is “quasi-erotic, pseudo-romantic and then ersatz-sad, a club night of mock emotion.”
The question remains whether Fennell’s bold reimagining will resonate with audiences. While the star power of Robbie and Elordi, combined with Fennell’s established directorial vision, may attract a significant viewership, the film’s departure from the source material’s emotional core could prove divisive. The film’s success will likely hinge on whether audiences are willing to embrace its stylistic excesses and accept its unconventional interpretation of a beloved literary classic.
