Category: EMMA 2020

Johnny Flynn as George Knightley and Anya Taylor-Joy as Emma Woodhouse

EMMA

Film review by Marlene Ardoin

When I first viewed this film, pre-Covid 19 era, I knew that “Emma” had something different about it, but I could not put my finger on it.

After a little research, I discovered that it not only has a female director, Autumn de Wilde, but it also has a female writer, Eleanor Catton.

The point of view of this Jane Austen classic is totally feminine.

We see the romantic interest, George Knightley (Johnny Flynn), in the very beginning of this film, throwing off his clothes, and then is dressed with all his fussy, but manly glory.

Sexual politics is the topic of this story and Knightley has our votes from the very beginning.

Men and women are being judged, then pitted against each other for some kind of advantage in the ranking.

This was an era with very obvious class divisions (the Georgian era in 1815 was right before the Victorian era).

Also, women were not allowed to own property, because they were property.

In fact, Jane Austin was living in a cottage on her brother’s property, when she began writing novels.

In the original story, Knightley was supposed to be the older friend of Emma’s (Anya Taylor-Joy) father.

In this film, he is closer to her age, rather than about seventeen years older than she.

Although delightful, it does not make sense as to why he is so often the guest of her father, except, maybe he is checking her out.

They make a perfect couple, but cannot stop criticizing and disagreeing with each other in the beginning of their relationship.

The father gets what is going on, but Emma does not.

She is spoiled, beautiful, and headstrong.

Emma assumed the status of her father’s companion, since the time her mother died, when she was around twelve.

Emma interjects herself into the lives of others as a matchmaker, without any real credentials of her own.

She eventually succeeds in putting a powerful spell on Knightley, who, like her father, finally allows her to have her way.

The real writer of this story, Jane Austin, was the daughter of a clergyman.

And, I cannot think of a single story, where she presents the clergy in a kindly manner, and this is no exception.

Although, I do think Austin was an authority on the subject matter, having observed the culture all her life.

The characterizations in this film are interesting, entertaining and drop dead gorgeous.

While each characterization is strong, the most interesting character is the director, Autumn De Wilde.

It turns out that this is her first film at age 49.

She is a well-respected photographer, but was not given the green light to make a film until now.

De Wilde has a grown daughter, is very feminine, but with the making of this film, she becomes androgynous in appearance.

There is no doubt that De Wilde has a very keen eye for both male and female beauty, as is evident in all her photo shoots.

I am not sure if the androgynous persona allowed her to make her cast feel at ease, or if her real self is finally being allowed to shine.

In my opinion, “Emma 2020” is the absolute best version yet.

Autumn de Wilde feminine version.

Autumn de Wilde androgynous version.

Cast

Anya Taylor-Joy as Emma Woodhouse
Johnny Flynn as George Knightley
Mia Goth as Harriet Smith
Miranda Hart as Miss Bates
Bill Nighy as Mr. Woodhouse
Josh O’Connor as Mr. Elton
Callum Turner as Frank Churchill
Amber Anderson as Jane Fairfax
Rupert Graves as Mr. Weston
Gemma Whelan as Mrs. Weston
Tanya Reynolds as Mrs. Elton
Connor Swindells as Robert Martin
Oliver Chris as John Knightley
Chloe Pirrie as Isabella Knightley

Directed by	Autumn de Wilde
Produced by	· Tim Bevan· Eric Fellner · Graham Broadbent · Pete Czernin
Screenplay by	Eleanor Catton
Based on	Emma by Jane Austen
Starring	· Anya Taylor-Joy· Johnny Flynn · Josh O’Connor · Callum Turner · Mia Goth · Miranda Hart · Bill Nighy
Music by	· Isobel Waller-Bridge· David Schweitzer
Cinematography	Christopher Blauvelt
Edited by	Nick Emerson
Production companies	· Perfect World Pictures· Working Title Films · Blueprint Pictures
Distributed by	Focus Features
Release date	· 14 February 2020 (United Kingdom)
Running time	124 minutes
Country	United Kingdom
Language	English
Box office	$25.2 million^[1][2]