There has already been a cinematic adaptation or two of Jane Austen’s comedy of manners “Emma,” and yet, it seems there hasn’t been enough. There is, of course, Gwyneth Paltrow’s turn in Douglas McGrath’s 1996 version, and Amy Heckerling’s ingenious modern-day reimagining of the story in her 1995 film, “Clueless,” with Alicia Silverstone’s Cher as the meddling matchmaker. While both have their charms (and “Clueless” is a stone-cold classic), Autumn de Wilde’s interpretation, starring Anya Taylor-Joy as the young Miss Woodhouse, is tart, bright and utterly intoxicating.
De Wilde, a music video director, makes her feature debut with “Emma,” adapted from Austen’s novel by Eleanor Catton. Working with a talented crew, de Wilde deploys everything at her disposal to execute an expertly choreographed and designed film, highlighting the arch artifice of aristocratic culture and behavior in Regency England.
The story is one of a young, privileged woman, who, having “lived nearly 21 years in the world with very little to distress or vex her,” puts her energy toward making matches for the ones around her rather than look for a husband herself. She can’t stand to leave her beloved, neurotic father (Bill Nighy), but there might be something else behind Emma’s deflection, a fear of emotional vulnerability underneath her crisp exterior.
Every cinematic element, including cinematography by Christopher Blauvelt, costumes by Oscar-winner Alexandra Byrne, production design by Kave Quinn and music by David Schweitzer and Isobel Waller-Bridge, comes together in a delicate dance to create a carefully constructed confection as sweet as one of the pastries they devour at tea. Bathed in Easter egg shades of robin’s egg blue, blush pink, spring green and sunshine yellow, “Emma” is indeed a frothy and colorful delight. But it is also effortlessly cunning and can be deeply cutting, which is a reflection of Emma herself.