Emerald Fennell’s adaptation of Emily Brontë’s novel, “Wuthering Heights,” is proving to be a particularly provocative entry in a long line of interpretations. Released on , the film, starring Margot Robbie and Jacob Elordi, isn’t simply retelling a classic story; it’s actively reshaping it for a contemporary audience, and sparking debate in the process.
The film, like previous adaptations – including the version and Andrea Arnold’s take – focuses primarily on the first half of Brontë’s narrative. This decision, while not new, underscores a recurring pattern in how “Wuthering Heights” is presented to modern audiences. But Fennell’s approach goes further, deliberately stripping away elements central to the novel’s original social commentary.
Perhaps the most significant and controversial change is the casting of Jacob Elordi as Heathcliff. The novel explicitly establishes Heathcliff’s ethnically ambiguous background as a crucial factor in his ostracization and the driving force behind his rage. Fennell’s choice to cast a white Australian actor effectively erases this dimension of the character, a decision that has drawn criticism for whitewashing a historically significant aspect of the story. The film’s deliberate avoidance of exploring themes of race, colonialism, and social exclusion, present throughout Brontë’s work, is a striking departure from the source material.
Margot Robbie portrays Cathy, a character who, even within the novel’s societal constraints, displays a desire to conform to a specific social ideal – represented by the wealthy Linton family. The film, however, appears to downplay these internal tensions, opting instead for a more streamlined romantic narrative. Shazad Latif and Alison Oliver play Edgar and Isabella Linton, respectively.
Beyond the casting choices, the film’s overall tone and aesthetic are markedly different from previous adaptations. One reviewer described the film as capturing Fennell’s experience of reading the book at age , suggesting a prioritization of personal interpretation over faithful adaptation. This approach manifests in a willingness to embrace sensationalism and explore the novel’s darker, more visceral elements. The film doesn’t shy away from depicting the raw, often brutal, emotional landscape of the story, but does so in a way that some critics argue sacrifices depth for shock value.
the film is being described as remarkably sensual, even “horny,” with scenes explicitly focusing on the physical and sexual tension between Heathcliff and Catherine. The opening sequence, a jarring juxtaposition of a public hanging and a couple engaging in intimate activity, immediately establishes this focus on the intertwined themes of sex and death. This isn’t a subtle exploration of desire; it’s a deliberate and provocative presentation of the characters’ all-consuming passions.
The adaptation isn’t simply about romance, however. It’s presented as a commentary on contemporary culture’s relationship with literature. One critic suggests that the film reflects a “modern literacy crisis,” where literature is no longer valued for its intellectual stimulation but rather as a form of distraction. Fennell’s approach, with its emphasis on spectacle and sensationalism, seems to embody this critique, offering a version of “Wuthering Heights” designed to appeal to a culture with a diminished attention span.
The film’s willingness to gut the emotional core and narrative tensions of Brontë’s novel has been met with mixed reactions. While some appreciate Fennell’s bold and unconventional approach, others lament the loss of the novel’s intellectual and emotional complexity. The adaptation is described as “hollow” and a missed opportunity to engage with the novel’s profound themes. It’s a film that prioritizes style over substance, trading the novel’s nuanced exploration of human psychology for a more superficial and marketable romance.
Fennell’s “Wuthering Heights” is a film that demands to be discussed. It’s a provocative and unconventional adaptation that challenges viewers to reconsider their expectations of what a classic novel can be. Whether it succeeds in capturing the spirit of Brontë’s work is a matter of debate, but it’s undeniable that Fennell has created a film that is sure to generate conversation – and controversy – for some time to come.
