5 Kernels

Each time a movie is remade, I inwardly moan…”not another one.” Let’s face it. There have been multiple versions of Jane Austen’s “Emma” to grace the movie and television screens. Yet, after seeing this version, I must admit that talented individuals can take an old story and put a fresh coat of paint on top to give it a different and delightful color. Such is this 2020 version of Emma, directed by Autumn de Wilde. I will confess, that in all the other versions I’ve enjoyed over multiple times, this was the first to make me cry at the end.

First off, let’s talk about the story by comparing the one I loved before with Jeremy Northam and Gwyneth Paltrow released in 1996. It was a joy in its own right and well done. The new Emma has put a new spotlight on old characters, bringing them to life in a slightly different way.  Emma has more of a bite to her personality and an edge, played by Anya Taylor-Joy. Her father is more lively but still worried about drafts and people getting stick. Who cannot love Bill Nighy? Harriet is a bit more empty-headed than former ones. Mr. Elton is an absolute hoot of a Character, along with his mouthy wife. Kudos indeed to Josh O’Connor for his take on Elton. Miss Bates has a bigger heart to injure by Emma’s rudeness. Wonderfully played by Miranda Hart. Frank Churchill is a bit more of an ass in character, thanks to Callum Turner. Mr. and Mrs. Weston are par for the course. Jane Fairfax is duller than dull, except that she can play the piano like none other. And then there is Mr. Knightley, who stole my heart immediately in spite of my former crush on Jeremy Northam. His mannerism, his voice, his expressions, and emotions were over the top.

This version has grit, comedy, and heart galore, and acting that is wonderful. I cannot sing enough praises for Johnny Flynn’s performance of Mr. Knightley. What a difference in how he handled the role, making him a vulnerable, love-sick man that brings you to tears as he stands at the altar with Emma about to be wed. His voice and mannerisms were spot-on Regency. The funny thing about this version is the tit-for-tat dislike between him and Frank Churchill, who barely say a word to one another for an entire hour but cast looks of dislike back and forth.

Do not expect the story to play out in the same scenes as the 1996 version, as they are all new in their own right. It takes nothing from the older version, except to give the viewers a newer perspective of where those conversations took place. Then there is the overall feel of the movie and its beauty and setting. The indoor lighting of candlelight is amazing in some scenes with no artificial hint of the modern-day. The outdoor country and country homes are gorgeous. Each detail is to perfection, like the scene where Mr. Knightley professes his love to Emma who is standing in front of a beautiful tree in bloom, in a white and green dress, with ribbons, that matches the beauty to perfection behind her. It’s what makes the movie visually stunning in scenes like these, almost taking your eyes off the characters. The costumes for both males and females are to die for, as well as the hats. The soundtrack is great from classical to quirky for each scene matched appropriately.

Oh, yes, you’ll see naked Johnny Flynn’s backside being dressed by his valet in a few quick seconds, and Emma lifting her dress to expose her bare bottom to the fireplace behind her (which bottom you do not see by the way). And a quite surprising nosebleed at the most inopportune time.

There isn’t a badly done note in this version, and I plan to see it again to enjoy it once more.  Well done!  Well done, indeed.  I hope that Autumn de Wilde decides to redo a few other Austen versions to give them a different flavor and new life. It will be a blessing for the generations to come.

If you want further reading, on the reasoning behind the characters and scenes, this explains a lot. “How Jane Austen’s Emma got the rock-star treatment it never knew it needed,” by FastCompany