‘Emma’ review – Superb adaptation of classic Jane Austen novel

Emma is a superb screen adaptation of Jane Austen’s classic novel. It observes in perfect detail the rituals and splendour of the English landed gentry while delivering a scintillating satire on social class and the pain of growing up.

First-time feature director Autumn de Wilde’s ingeniously framed production, with its visual elegance and opulent costuming, is one of the best and most touching renderings of Jane Austen’s work I’ve seen.

The opening credits describe Emma Woodhouse as “handsome, clever, and rich” and the film guides viewers through her adventure of misguided matches and romantic missteps to find the love that was staring her in the face all along.

Anya Taylor-Joy in ‘Emma’. Picture: Focus Features

The film opens in celebration. Emma, a young woman about to turn 20, played by the expressive, wide-eyed Anya Taylor-Joy, has just formed her latest “match”, that of her governess (Gemma Whelan) to a wealthy neighbour and widower (Rupert Graves).

She resides in Hartfield among immense opulence in a gorgeous, baroque mansion. Being of mean disposition and arrogant, she derives immense pleasure in manipulating and managing the love lives of those around her.

The script is perfectly pitched with dialogue in keeping with the age and the ensemble delivers in every aspect. It’s a delight to watch.

Josh O’Connor and Tanya Reynolds in ‘Emma’. Picture: Focus Features

Emma’s father is portrayed by the droll Bill Nighy. He makes the old man endearingly distant and with a strong hypochondriac tendency. His finely cut costumes are elegance personified and he has the ideal figure to wear them with aplomb.

He feels perpetual draughts, fretting about even a hint of over-exertion. A little snow sends him into a panicked retreat to the warm comforts of home.

Their neighbour from the impressive palace-like big house is the tousled haired Mr Knightley (South African-born Johnny Flynn).

He is the more rough-hewn voice-of-conscience for meddling match-maker Emma. He even sports facial scars that suggests he’s duelled on occasion.

Bill Nighy in ‘Emma’. Picture: Focus Features

The role of Harriet, Emma’s dizzy, simple “companion”, is beautifully played by Mia Goth whom Emma is determined to pair with someone “above her station”, while the snobbish vicar Mr Elton (John O’Connor) plays the character as a pitiably repellent individual.

Two other characters to leave an impact on the production are the dashing Frank Churchill (Callum Turner), who makes the most of his belated entrance and TV’s funny lady, comedian Miranda Hart, who plays the gossipy and garrulous Mrs Bates, whom Emma cruelly insults during a picnic.

Director De Wilde imbues her production with a lushness that engulfs the viewer where we meet characters enjoying life’s many fruits.

Johnny Flynn in ‘Emma’. Picture: Focus Features

She uses many tight shots to focus on her blonde, ringleted star, emphasising her most expressive eyes as they register contempt, pity, dismay and hurt.

Taylor-Joy makes a mean coquette here and the character has to undergo a little humiliation to allow her to experience love and vulnerability in her own life.

This is a period piece, a stylish comedy of manners for discerning viewers and is well worth savouring.

Mia Goth and Anya Taylor-Joy in ‘Emma’. Picture: Focus Features

Info

Rating: ★★★★★
Cast: Anya Taylor-Joy, Bill Nighy, Mia Goth, Amber Anderson, Johnny Flynn, Josh O’Connor, Rupert Graves, Callum Turner, Miranda Hart
Director: Autumn de Wilde
Classification: 10-12 PGDP

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