Everyone has their set of comfort films. Some ride their nostalgia blues by revisiting beloved classics or cartoons. Some prefer to live vicariously through feel-goods or rom-coms. Others resort to nail-biting true crime or action thrillers that leave their hair standing on end. There’s no formula or rules to what makes a good comfort watch. It can be a security blanket of familiarity, or simply a world you want to get lost in over and over again.
For me, my safe space lies within the Jane Austen cinematic universe. Particularly in the latest adaptation to join its esteemed ranks, Emma.
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But with a story subjected to multiple adapted treatments, including a highly-successful modern retelling, what can this film offer for audiences that they haven’t seen before? Emma. (the punctuation is very much intentional) still resembles a period piece in every way, one that sticks well by its Regency roots, yet provides a unique contemporary flair that resonates with a modern crowd. Humour and theatrics are used – as key components in the film – to break the austerity of high society. A light-hearted, almost amusing side is brought out of the Highbury genteel. Director Autumn de Wilde’s auteurism also shines in Emma. Her artistic vision feels akin to a Wes Anderson film, employing lush pastel palettes and gorgeous cinematography that create a visual feast. Even the accompanying score, composed by Isobel Waller-Bridge and David Schweitzer, infuses just the right amount of elegance and absurdity that elevate the story.
Besides being the first lady of English literature, and basically raising the bar for all men, Austen is also responsible for creating the most unlikeable, likeable heroine, in Emma Woodhouse. Nothing about Emma is particularly endearing, except that she is pretty, witty, and very wealthy. She desires neither money nor marriage, but only to play cupid with the townspeople for her amusement. Entitled to a fault and hardly someone you’d want in a friend, Emma still makes for a protagonist we rally behind and root for. And that’s only because in her own misguided and naive way, she means well. Really.
The main attraction, however, lies in the cast performances.
Anya Taylor-Joy brings a certain flavour to the role of Emma Woodhouse that previous iterations lacked. Romola Garai was too likeable. Gwyneth Paltrow too unlikeable. Kate Beckinsale too forgettable. And while I adore Alicia Silverstone, Cher Horowitz felt too disconnected from her muse. Taylor-Joy, on the other hand, balances just the right amount of snobbery and elitism of a socialite, while still retaining the doe-eyed ditziness of a 21-year-old.
Her verbal sparring partner, and later love interest, Mr. Knightley is an equal match in wit and status. Being the only person Emma seeks approval of, yet is determined to prove wrong, their endless banter and disagreements fuels their budding romance. Johnny Flynn’s utterly charming performance as Mr. George Knightley cements himself as yet another Austen male lead we all desire, yet cannot attain in reality. Other standouts include Bill Nighy, who plays the hypochondriac Mr. Woodhouse as laugh-out-loud funny rather than petulant. Mia Goth wins audiences with her performance as the sweet and impressionable Harriet Smith, while Josh O’Connor puts a comical spin on the idiosyncratic Mr. Elton, making him simply impossible to dislike. There’s no shortage of memorable performances that border on the preposterous yet leave you bewitched.
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But at the crux of it, Emma. is a deeply romantic story. Everything is done in generous doses. The yearning. The angst. And the utterly satisfying proclamation of love that leaves you breathless. Even the nosebleed scene is . The film isn’t perfect, however. There isn’t enough ground for all the characters to stand firmly on, nor enough time for the story to develop organically. Yet, it still keeps me coming back for more. Besides the lures of pretty aesthetics and swoon-worthy romance, the youthful missteps feel resonatory. As flawed and injudicious are the characters’ judgement, a humanity lies within their misguided choices. The story feels dated yet still accessible to a modern generation, attributing to why Clueless could fare well with a few tweaks and turns. It’s the perfect comfort film, one that takes us to a world far beyond our reach and in which we can live vicariously through.
Emma. is also one of the many anticipated films that fell victim to the pandemic, without ever seeing the Malaysian cinema treatment. But not to despair! Netflix just added Emma. into its library last week, so if you haven’t already, spare some time to watch this highly entertaining adaptation. Peppered with wit, brazen social commentary and a deeply loveable cast, Emma. truly holds its own as an entirely fresh and unique take on a timeless story.
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