She’s aided by a screenplay by Eleanor Catton that doesn’t quite resolve the story’s main fault-its concluding romance counts as perhaps the least convincing of any of Austen’s works-but which preserves much of the complexity of its “handsome, clever, and rich” heroine, who must learn to abide by her judgment rather than her vanity.Įmma begins the film at the height of self-regard, the reigning socialite of the small countryside community of Highbury. On screen, Emma can seem frivolous right up until the climactic moment that forces her into a self-confrontation, but Taylor-Joy’s open, expressive face, so often in close-up, captures Emma’s creeping uncertainty regarding her powers of judgment, as well as her own feelings, even as she continues to act the social butterfly. The eponymous gentlewoman, the story’s only three-dimensional character, is played with impressive depth by Anya Taylor-Joy here. Without departing far from the text, director Autumn de Wilde’s lively new film adaptation emphasizes the more farcical elements of Austen’s second-longest novel, granting it a snappy, rhythmic pace. A light comedy neither broad enough to be farce nor pointed enough to be satire, the novel lends itself to interpretation as both, given the narrative’s manifold romantic misunderstandings and host of kooky, idle gentry. Jane Austen’s Emma concerns the mishaps of a self-assured young country aristocrat who prides herself on her savoir faire but who remains, in the terms a certain modern adaptation, totally clueless.
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