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Jane Austen's World

This Jane Austen blog brings Jane Austen, her novels, and the Regency Period alive through food, dress, social customs, and other 19th C. historical details related to this topic.

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Fun with Emma.2020: A Look Back

March 12, 2021 by Vic

Inquiring readers: I saw Emma. 2020 last March with my friend and neighbor, Jane, who was delighted with her first exposure to Austen’s favorite heroine. I began to write about the film, but laid the post aside when COVID-19 began to spread rapidly. I recently re-watched the DVD multiple times. The more I viewed the movie, the more I appreciated director Autumn de Wilde’s choices for retelling Emma’s story.

Many admirable reviews have already been written about this film and Autumn de Wilde’s directing, acting, fashion, sets and locations. The comedic and more absurd scenes were those that stayed longest with me. They, and the sumptuousness of the film’s photography, set it apart from other Emma adaptations. Here, in no particular order, are my thoughts.

Emma. 2020 begins with a contraction of Austen’s opening line:

Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her.

The first scene demonstrates much of Austen’s opening statement. At dawn, just before sunrise, we see Emma walking across a lawn with a female servant and a footman, who holds a lantern to light the way. Inside a greenhouse, our heroine points to flowers, which the servant snips. While the scene is not in the book, Autumn de Wilde economically sets the stage for the viewer. Only a high born lady behaves in this manner, for Emma could have cut the blooms herself. I laughed silently in the theater; in private viewings I laughed out loud.

This sequence demonstrates that Emma is beautiful and rich, and that a rare life event has come to distress her—the loss of a beloved governess and mother figure. Miss Taylor is to wed Mr. Weston and move to his house, hence Emma’s reason for choosing the flowers for the wedding bouquet. The scene also demonstrates de Wilde’s eye for art and beauty. The colors and setting of this scene, and its quiet calm remind me of one of my favorite paintings by John Singer Sargent, although its subject matter is different.

Painting of Carnation, Lily, Lily, Rose 1885-6 John Singer Sargent. The Tate Gallery. Public domain image.

Carnation, Lily, Lily, Rose 1885-6 John Singer Sargent. The Tate Gallery. Public domain image, Wikimedia Commons

Inside the wedding chapel, we see the citizens of Highbury and their reverential attitude towards the Woodhouses as they take their seats in the front row pew. We also meet Mr. Elton (Josh O’Conor), whose exaggerated gestures and hand movements are a sight to behold, and Miss Bates, played to perfection by comedian Miranda Hart. More about both later.

But, But, Butt!

We first see Mr George Knightley (Johnny Flynn) astride his fine steed heading towards his magnificent house (Wilton House). He walks to his chambers through an exquisite interior filled with furniture draped in Holland covers, and enters his personal rooms. His valet awaits him as he undresses. My heart flutters, females around me gasp, and male viewers wonder what all the fuss is about, as we feast our eyes on Mr Knightley’s sculpted backside. He casually shaves in the nude and washes himself from a basin, then is dressed by his manservant. His attitude in this intimate setting is as casual as Emma’s when she directed someone else to cut flowers for her.

In another scene, a lady’s maid, who has just finished dressing Emma, leaves her alone. As she warms herself in front of the fire, we see that Regency ladies did not wear underpants. These items were considered shocking, for ladies wore stockings and a chemise under their gowns, while knickers and drawers were worn only by lower and working class women. This is the most flesh that any Emma in any film adaptation has shown, albeit in profile. I wonder if de Wilde drew inspiration from this 1796 caricature entitled “Comfort” by Matthew G. Lewis?

print cartoon of a lady warming her bare backside near a fire.

Comfort, 1796, M.G. Lewis. New York Public Library digital collection, Public domain print.

The heroine and hero, Emma Woodhouse and Mr George Knightley

Anya Taylor-Joy (Emma), possesses the fine acting skills necessary to play this complex young woman. After seeing her in The Queen’s Gambit, I (we all) predict a stellar career for this young actress, who was 23 when she was cast. Her expressive face changes like a chameleon’s, and her unusual features–beautiful at times, but not so pretty when she’s being haughty, argumentative, angry, or devious–sets her apart from the other blander-faced actresses who have portrayed Emma.

Taylor-Joy, as well as 36-year-old Johnny Flynn (Mr Knightley) are well cast for their roles and each other. George Knightley, the hero of the piece, is 16 years older than Emma, a not unrealistic age difference given that it was common for a young woman to marry an older man in Austen’s day. In this film, the actors are physically well matched. Both are unusually handsome people who share an undeniable chemistry on screen. This attractive combination overcomes any distaste the viewer might have towards Mr Knightley’s tendency to preach at Emma like a stuffy old uncle, or to her misguided and almost ruinous interference in Harriet Smith’s life.

Screenshot of the actors in the film

Screenshot of thumbnail images for Emma. 2020

Mr. Woodhouse transformed

Mr. Woodhouse, played by Bill Nighy, is still the fearful hypochondriac Austen created, but in this film the man is broadly comical, which audiences acquainted with Nighy’s acting roles would naturally expect. Austen readers will not quite recognize Nighy’s Mr. Woodhouse, whose first entrance as a vigorous man, bounding down the stairway and landing with a jump, is a surprise and good for a chuckle. Emma caters to him as usual, but more as a fussy daughter than as someone caring for an infirm man old before his time. Nighy’s facial ticks and physical mannerisms are priceless, but his outer awareness of Emma’s needs and emotions, while touching in the film, are not in Austen’s book (unless I missed something). The actor’s interpretation is of a pampered man who spends his cozy, privileged life in fear of germs, drafts, and rich foods, and losing the last of his family (an adoring daughter) to marriage. He wants his comforts to stay exactly the same.

Bartholomew and James, the draft dodgers

Nighy and the two footmen, Batholomew and James, form a Regency version of the Marx brothers, and provide a series of comedic interludes. While the two footmen never speak, viewers know from their expressions and physical mannerism exactly what they’re thinking. Aside from their usual footmen duties, which are onerous, they are in charge of anticipating Mr Woodhouse’s every need and defending him from drafts—whether from a window or cold air entering an insufficiently heated room, or to hide their master behind a series of screens to provide privacy for Emma and George Knightley at the end of the film. (Austen’s Mr Woodhouse would not have been so observant.) 

Mr Woodhouse surrounded by screens to protect him from drafts

Publicity still of Mr Woodhouse protected from drafts

B & J’s crowning moment comes when they unveil Emma’s simple watercolor portrait of Harriet in a too ornate frame selected by Mr Elton. As they reveal the portrait within the awful frame, their eyebrows twitch, their eyes brighten with excitement, and their mouths and cheeks emanate humorous contempt. A tight-lipped Mr Knightley, knowing what Mr Elton intends, remains sternly quiet.

James and Bartholomew flank the frame as Mr Elton is about to reveal its contents.

The moment before James and Bartholomew reveal the portrait in Mr Elton’s frame. Detail of publicity still.

Food, food, glorious food

Regency tables were indeed laden with an outrageous variety and quantity of foods during special occasions, such as a wedding breakfast, private ball, or holiday dinner. In this film, the food served during tea service was over the top insane. During Austen’s era, afternoon tea was meant to be a small stopgap meal between breakfast and a dinner that was served quite late by the upper classes. Emma would have offered visitors, such as Harriet and the Eltons, simple sandwiches, biscuits, and small cakes with a cuppa.

Still, it gave me a chuckle to see Harriet Smith’s eyes bug out at the sight of all the goodies on the tables in front of her and behind her, and look to Emma for direction on when to start eating, which never came. Better yet, in a later scene in honor of Mr Elton’s new bride, both tables groaned with even more sponge and tea cakes, cucumber sandwiches, strawberries, cookies, crumpets, chocolate truffles, and more. When Mr. Elton reaches for a cookie, Mrs Elton instantly slaps her caro sposo’s hand away, telling us in no uncertain terms who wears the knickers in that family!

Image of Mr and Mrs Elton taking tea

Mr and Mrs Elton at Emma’s tea. Publicity still, cropped

The most memorable table scene is reserved for Miss Bates, who shouts at a dinner in honor of Miss Fairfax, “MOTHER, YOU MUST SAMPLE THE TART!” Whereupon Mr Woodhouse persuades the always silent, nearly deaf Mrs Bates to sample something less rich so as not to upset the digestion. (Miss Hart’s unforgettable delivery earned a place in the film’s promotional ads.) 

He loves me, he loves me not. Oh, no! I love another man! Oh, drat. I was wrong.

Harriet Smith is Emma’s naive victim and putty her hands. Played by Mia Goth, she is, in my opinion, the best Harriet of all the actresses who have portrayed her. After Miss Taylor wed Mr. Weston (whose successful union Emma credits herself for achieving), she casts around for another match making opportunity and settles on Harriet, the natural daughter of an unknown somebody. Despite Mr Knightey’s warnings, Emma convinces herself of Harriet’s noble connections and takes the gullible young girl under her wing.

Mia Goth’s interpretation of this naive and fickle young woman, so easily persuaded by her betters, is priceless—from her wide-eyed expressions, innocent reactions, cute duck-ish gait, to her puppy-ish adoration of Emma. More importantly, this Harriet’s inconstancy is believable, for she craves Emma’s approval. In short order, she falls for Mr. Martin, rejects his sincere proposal of marriage (in the hope of pleasing Emma); is persuaded to fall for Mr. Elton, only to soulfully mourn his rejection; then falls for Mr Knightley when he asks her to dance after Mr Elton cuts her to the quick at the Weston’s ball. When she realizes she was wrong in her perception about Mr Knightley returning her affection, she is easily persuaded to fall for Mr Martin again after he renews his pledge of love and offer of wedded bliss. (Whew, gentle reader, that was a mouthful!)

Pretty maids in a row

The one visual that instantly brings Emma. 2020 to our minds is of the long line of young ladies in Mrs Goddard’s boarding school walking around Highbury (Lower Slaughter) and the countryside in bright red robes, which were actually popular during this period, and dutifully following Mrs Goddard, with Harriet Smith among them. Their frequent appearances puts a smile on my face, but they also eerily remind me of A Handmaid’s Tale.

Image of a line of girls in red robes

screenshot of girls following Mrs Goddard two by two through Highbury

Miss Bates and her jabbering

Miss Bates in both book and film regurgitates inane reams of monopolizing blather. Miranda Hart plays the spinster to perfection. Despite her character’s deficiencies as a sensible communicator, Miranda projects Miss Bates’s tenderheartedness and vulnerability at the same time. When Emma is corralled by Miss Bates in the haberdashery shop, her face barely disguises her chagrin and she does all but turns somersaults to get away. Miss Bates, not deterred, follows Emma around the shop, babbling all the while.

Miss Bates plays a crucial role in the pivotal Box Hill scene (Leith Hill in the film), where Emma cruelly points out the spinster’s talent in making more than three dull statements. Almost instantly Emma realizes how callous she sounded. As Miss Bates fights off tears, the silence in the group is so awkward that even Augusta Elton holds her tongue. No one spares Emma any sympathy. After Mr Knightley tells her angrily, “It was badly done, indeed!” he reminds her of Miss Bates’s humble situation and lower status. Sitting alone in her carriage, she finally begins to understand how others see her and the picture isn’t pretty.

The Eltons

We now come to the Eltons, a comically awful couple written for the film much as Jane Austen envisioned them–ridiculous and puffed up with their own consequence. I recall reading somewhere that Augusta Elton (Tanya Reynolds) mirrors Emma’s worst traits stretched to the nth degree. It is fitting that this nouveau riche upstart, whose father made his fortune in trade, has a brother-in-law named Mr Suckling. Autumn de Wilde chose to dress Augusta in an exaggerated way. She wears too much jewelry and chooses gowns with too many ribbons and ruffles and too bright colors. Her hairstyle did not exist until at least 7-12 years after Emma was published, but it suits the character to a tee.

Image of a woman's upturned hairdo
1823, detail of a public domain image of Amalie Auguste of Bavaria
Exaggerated updo from 1818
1828 image from an Ackermann fashion plate is even more exaggerated

Mr Elton leaves Highbury in a huff after Emma forcefully rejects his proposal. This comedy of misunderstandings resulted from Emma believing he was wooing Harriet, when in fact he was wooing her. Alone in a carriage with his love, and away from Harriet or any other interference, Mr Elton declares his undying devotion. Emma is horrified, and reminds him of Harriet. Mr Elton, still dewy-eyed, says unctuously, “Who can think of Miss Smith when Miss Woodhouse is near?” Taylor-Joy is outraged and disgusted at the same time, and all but blurts out “Ewww!” before decisively rejecting him. The true Mr Elton appears instantly—a nasty, mean, and spiteful man. Pounding the carriage roof he shouts, “Stop the carriage!” When it doesn’t stop soon enough, he screams, “STOP THE CARRIAGE!” Before he knows it, he’s left out in the snow, leaving Emma clueless as to how she read the tea leaves wrong. The constancy of his love becomes clear when he is engaged to the very rich Augusta within four weeks of meeting her!

A dance, and a proposal in the nosebleed section

Mr Knightley and Emma fall in love dancing in a scene at the Weston’s ball that is exactly right and, oh, so romantic. She witnesses him rescuing Harriet from Mr Elton’s cruel rejection of the young girl as a dance partner, and dances with her himself. Emma turns all mushy inside thinking of Mr Knightley as, well, a knight. They dance. They fall in love…but, wait. How can this be? It is not the end of the film!

A few more misunderstandings ensue, causing our hero and heroine to pull away, despite their burning desire for each other. Mr Knightley believes that Emma harbors real feelings for Frank Churchill. Meanwhile, she has discovered that Harriet has fallen in love with her knight. Then Mr Knightley learns of Frank’s engagement to Jane Fairfax, and rushes to Hartfield to console Emma. Emma feels guilty about Harriet and… well, see for yourself:

I learned one new medical fact in a google search: Nosebleeds can indeed result from stress or anxiety. Rumor has it that Anya Taylor-Joy had a nosebleed on cue. What an actress!

A tisket, a tasket, humble pie in my basket

Emma’s visits with baskets for her victims mark turning points in her self-awareness. After the disastrous picnic at Box Hill, she visits Miss Bates in her small rooms. The spinster is gracious and grateful for the food, which makes Emma feel even worse. This is a true humble pie moment.

Her next basket visit is to Mr Martin’s farm to apologize. It is just as cringe worthy. She carries a freshly killed goose, some jams or jellies, and her rolled up watercolor of Harriet. Her arrival in person with kind words and a gift signify strong hints meant to encourage the farmer to try his suit with Harriet again. Thankfully, he takes the hint.

All’s well that ends well

Mr Knighley and Emma marry in a lovely wedding. Mr Woodhouse is not unhappy, knowing that Mr Knightley will come to live at Hartfield so that Emma won’t move away. The Westons have a baby, and Harriet Smith will meet her papa (finally), who turns out to be a tradesman. She and Mr Martin are seen as a couple at church. The ending is fittingly romantic, and my heart flutters once again.

In conclusion and in all seriousness

Emma. 2020 is director Autumn de Wilde’s first full length feature film. Before this project, she’d directed music videos and published several books. She is also well-known for her work as a portrait photographer. In this film, she told Emma’s story in a little over 2 hours. Many plot lines from Austen’s second longest book were cut, and a number, such as the opening sequence and bullet pudding game, deviate completely from the novel. The divisions into the four seasons is a smart way to show the passage of time, and the film’s fashions, locations, and sets are breathtaking. Historians caution viewers in general that the houses in Austen films, especially Wilton House, are too grand for her characters, who are often country gentry. Wilton House is the seat of the Earls of Pembroke, a peerage title first created in the 12th century. While Mr. Knightley is quite wealthy, it beggars belief that he could afford a house as grand as this, but this story is filmed as a fairy tale after all.

Additional Resources:

View ten short clips of movie scenes from Focus Features https://www.youtube.com/results?search_query=Emma+2020+focus+features

  • A Look at the Emma Film Location Firle Place, Habitually Chic
  • Emma 2020 Film Locations: Part Deux, Habitually Chic
  • The Costumes in Emma. (2020), Willow and Thatch
  • Movie Costumes: Emma 2020, The Curator’s Curio
  • Emma. Review of the 2020 Movie, Brenda Cox. Faith, Science, Joy, and Jane Austen
  • Emma. A review: Directed by Autumn de Wilde, Tony Grant, London Calling

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Posted in Autumn de Wilde, Emma 2020, Jane Austen's World | Tagged Anya Taylor-Joy, Bill Nighy, Emma 2020, Emma Woodhouse, Johnny Flynn, Mr Knightley | 21 Comments

21 Responses

  1. on March 12, 2021 at 16:56 Darlene

    Thanks. A great review of this movie, which I haven’t seen yet. Emma is my favourite Jane Austen novel. I’m pleased it was done well.


    • on March 12, 2021 at 23:02 Vic

      Darlene, I hope I haven’t spoiled it for you, although I barely covered the surface of this film and left many characters out. Emma is certainly worth rereading!


  2. on March 12, 2021 at 18:25 Jane

    Wonderful review!!! Those screens!!! lol


    • on March 12, 2021 at 23:03 Vic

      Thought you’d like them mentioned! They really were a visual delight.


  3. on March 12, 2021 at 18:58 Michelle H

    Thank you for the great review, Vic. I remember the first glimpse of the new Emma I saw, don’t remember which mini-scene bit it was but I went “Ugh!’ Ha, what a silly goose. Now the second one I saw was longer, featured Bill Nighy and I said “I’m in.” From that you knew this wasn’t going to be ‘taking itself seriously’ in the sense that interpretation of Austen was going to focus on more than just the romantic bits…with a sense of humor. Of course I knew even if it turned out to be ‘ugh’ I was going to watch it for the gorgeous costumes and of course Bill Nighy. The first time I watched it we rented it and the same streaming service was showing a ‘making of’ short film. That was wonderful and I got to know a lot about Autumn de Wilde just watching her interactions with her cast, who seemed to adore her and she them. And it was informative in that I became aware of de Wilde’s attention to historical detail in costume style and color and sets. This was fascinating, de Wilde and all the actors except Nighy were new faces and names to me. I loved the movie and laughed so much.

    I learned more from the link to Habitually Chic at the bottom of the page, today. I plan to check out the other links later. Thank you. That was a lot of repainting!

    I have wanted to change those persons’ minds that really hated it, but I remember my first viewing of the 2005 Pride & Prejudice which at first I really didn’t like. It grew on me quickly, though. The 1995 BBC mini-series was my first and constant exposure to P&P and naturally the 2005 being very different could not at first compare. So I understand clinging to something so close to your heart and wanting a new movie to be the same, only with different stars and costumes. I’ll still try changing their minds though when I have the chance.

    Happy Spring, Vic. Stay safe and well.


    • on March 12, 2021 at 23:25 Vic

      Hello Michelle, I wasn’t in love with the film when I first saw it in the theater either–I merely liked it. Oh, the sets and costumes were scrumptious, but it took a few viewings for me to appreciate how Autumn de Wilde put her own spin on Austen’s novel with humor and added scenes. This film reminds me very much of Emma Thompson’s Sense and Sensibility, 1995. I loved that film, but much of the dialogue came from Ms Thompson, not Jane Austen. Still, she captured the gist, which de Wilde has done. Then again, I read a review that simply loathed the humor, which the reviewer felt demeaned the novel. To each his own.

      Thanks for stopping by and stay safe as well! It was truly warm today. I’m looking forward to meeting friends outdoors.


  4. on March 12, 2021 at 19:39 Anne Erickson

    Thanks for this very thoughtful and perceptive review. My favorite Mr. Woodhouse remains Donald Eccles however the nosebleed proposal scene is very entertaining. I’m looking forward to another viewing now.


    • on March 12, 2021 at 23:30 Vic

      Hi Anne, On second viewing you’ll see many details you might have missed. I have the DVD of the Donald Eccles version of Emma and should see it again.

      I also liked Michael Gambon’s Mr Woodhouse in the 2009 miniseries with Romola Garai. Hers was an earthier, more countrified Emma. Her Mr Knightley (Jonny Lee Miller) wasn’t too bad either!


      • on March 14, 2021 at 06:36 Kevin Brewer

        I watched this Emma and thought is compared badly with the Romola Garai version. That said, I recently had an hour long casting session with my daughter as to which actress should be cast as Harriet Smith. We were about to watch Bridgerton but had this as a more important issue. We agreed no version of Emma has done justice to Harriet, and few to Jane Fairfax, although Laura Pyper and Amber Anderson are both well cast for Jane. Harriet Smith always suffers from director’s cruelty. Jane describes her as beautiful, but we assume part of Emma’s problem is Harriet is more beautiful than Emma, and this poses a problem for Emma. But directors always cast against Jane Austen’s description as in their trivial eyes the heroine has to be the most beautiful on screen. Mia Goth is almost indistinct in her characterisation, Louise Dixon, Toni Collette have also been misused in the part.

        And those horrible collars the men had to wear. What annoyed me was the way the mise en scene had been ‘updated’ to allow a younger audience in, or that was the reasoning, which allies it with Bridgerton where Lady Featherington is dressed in 1950s frocks, the Duke has a soft bum, and the only interesting characters are Queen Charlotte and Eloise Bridgerton. Cheers


  5. on March 13, 2021 at 03:15 dholcomb1

    This was the last movie I saw in a theater before lockdown. I was fortunate to have won the DVD and have enjoyed watching it again. I found it quite diverting.

    denise


    • on March 13, 2021 at 11:26 Vic

      Hello, Denise! Hope you’re enjoying this prematurely warm weather as much as I am. Emma.2020 was also the last film I saw in a theater before lockdown. It certainly was worth seeing on the big screen, where the impact of the film’s beautiful photography and scenery was multiplied a hundred-fold.

      I agree that a second viewing adds much enjoyment. I’m still picking up details, such as the red net dress Emma wears at a function, which niggled at my memory until I learned it is a replica of a famous gown in the Victorian & Albert museum costume collection. Or the servants standing at attention during the picnic. They are part of the furniture, as it were. Had it not been for Emma 2009, a mini-series that had the time to show a group of servants laboriously carrying picnic supplies and food up the steep hill, I wouldn’t have known of the labor that goes into a “simple” luncheon outdoors if not for those scenes.

      I enjoy your frequent visits, V


  6. on March 13, 2021 at 03:38 h

    Amazingly well written and thoughtful review :) you spoke about all the points I care about, and have convinced me to give the movie a try after all!


    • on March 13, 2021 at 11:39 Vic

      Hello h, Thank you! I hope I haven’t oversold it. If you are wedded to faithfulness to Austen’s novel, you might be disappointed. But if you don’t mind a director’s POV and an adherence to the spirit of the lessons the heroine learns, then enjoy this different trip down Emma’s lane.

      Thanks for stopping by, V


  7. on March 13, 2021 at 05:24 songbirdalicia

    Caution: the following is a long, long, long commentary written during “stay at home” conditions by a California senior citizen who is allowed to share her home with a cat and dog!

    Dear Vic, Don’t know which I enjoyed more…the movie or your review!

    Emma 2020 – Upon first viewing I was impressed with the sets, costumes, scenes and the sheer artistry of this film. The use of folk music, while at first off-putting, lent itself to the authenticity of the era by reminding the viewer about the parallel though separate worlds of the “common-folk” and the privileged, like Emma. I was especially fond of the red cape-clad school girls marching in cadence here and there throughout the film, like a float in a parade.a

    I’ve was blown away by Anya Taylor-Joy in The Gambit! She mesmerizes and the camera loves her. This was my first viewing of Johnny Flynn and did not fit my stereotype of Mr. Knightley…until his performance won me over. Tanya Reynolds must be who Ms. Austen had in mind as she wrote Emma. Josh O’Connor and Miranda Hart would have made her laugh out loud! And the talented Bill Nighy brought an ever so delicate nuance of fatherly devotion in Emma that has been missing in prior productions.

    When I learned that Ms. deWilde’s background was in Photography, I was not surprised. Her scenes alone competed heavily with the actors! The pastoral scenes as well as the inside scenes of the estates were beautiful.

    I must give a nod to the “draft dodgers” as you dubbed Bartholomew and James, and the screens should also get a line or two in the reviews. Especially at the end when Mr. Woodhouse perceives that “love is in the air” as Emma and Mr. Knightley sit at attention on the love seat as they pay their attention to him. It is from Mr. Woodhouse that B & J take their cue and present the (almost scene stealers) various screens. Bill Nighy gives a smooth and seamless performance and next to Michael Thompson, gets my vote for best Mr. Woodhouse. Again, I believe Ms. Austen would agree.

    I must give another nod to the costumes. So authentic. And I noticed the slight differences between Emma’s attire and Harriett’s as they walked side by side as well as the lack of taste in Mrs. Elton’s attire compared to Emma’s.

    My heart did not jump (but for the shock that it was unexpected) when I noticed Mr. Knightly disrobe in front of his servants. It did give me pause and reflect that it was a lifestyle he’d have been accustomed to. And, I had to laugh out loud when I saw Emma warming her “posterior” by lifting her skirts to warm herself by the fireplace. In that era I’ve learned there was a “no knickers” policy for the privileged; only the peasants wore drawers at that time. I’m with the peasants and vote for privacy and a warm posterior.

    And I must give a nod to the glorious foods and desserts! I loved that scene where Miss Bates shouts at her mother across the dining table in spite of Mr. Woodhouse’s warning to abstain for her health’s sake. And I laughed out loud when Mrs. Elton slapped Mr. E’s hand as he reached for one of those delicious looking desserts!!! I’d have been right there with him slapping her hand down as I grabbed some (I’d have shared them later with Mr. Elton).

    Maybe I missed something in prior Emma productions, but this is the first time I’ve noticed Mr. Knightly go from a mature and controlled gentleman of 36 to a young puppy in love when he realizes he’s in love with Emma! The turning point for Emma and Mr. Knightly has always been portrayed hen they dance together at the ball. But in Emma 2020 he almost chases Emma’s carriage as she heads home from the ball. As it’s been said, love makes fools of us all and it seems Mr. Knightly is not immune. I enjoyed that scene.

    (BTW: Romala Garai and Johnny Lee Miller’s performance during the dance at the ball was electrifying.)

    In one of the last scenes, as we see Emma and Mr. Knightley in the evening of their revealed love for one another, sitting in almost impatient attendance on Mr. Woodhouse, Mr. Woodhouse senses that “love is in the air” and hastily “feels a chill” and directs B & J to bring in the screens (March of the Screens) until he is completely hidden. Now in “privacy” we see Emma and Mr. Knightly sweetly embarrassed, and the air is pregnant with possibility. Emma’s attempt at the first kiss between them is followed by his “here, my love, let me show you” kiss and we leave them enjoying the process.

    It is a well-known fact that… Ms. Austen had a sense of humor and despite the slight changes from her original “script,” would have been very well pleased with this production for all the reasons given in your review and subsequent commentaries.

    Emma 2020 will definitely be added to my “Movies to Watch At Least Twice A Year” list!


    • on March 13, 2021 at 12:10 Vic

      Greetings, Alicia,

      I live with an extended family, a dog, and three fish! Glad you enjoyed my words. After reading your outstanding analysis, I have little to add. I agree with your assessment of the music, which many decry online. Jane Austen collected folk music and heard traditional songs all her life. When I heard the strains of The Water is Wide, an old Scottish ballad that stretches back long before Austen’s time (it was also used in Sanditon), my mind immediately turned to the 60’s folk music of Peter, Paul, and Mary. Their lyrics were modern, I believe written in 1908, but the music recalls a past time in an elegiac way. It was so appropriately placed. Folk music was played in this film in country scenes, and especially at the Martin farm, so your point about it demonstrating the separate worlds makes sense.

      Your observation of Johnny Flynn’s change from a stern older man to a sensitive, emotional man in love, who is afraid of losing Emma, is spot on. I’ve noticed that as well, but couldn’t express it as well as you.

      As to the naysayers who dislike this film over the other Emma interpretations, I have space in my heart for all of them. I’ve divided the four Emma actresses I’ve liked the most in two categories: Kate Beckinsale and Romola Garai represent the more rural, rustic Emma’s–the biggest fish in a small constricted pond. Gwynneth Paltrow and Anya Taylor Joy are elegant grand dames living in a similar fishbowl to the first two Emmas. I’ve enjoyed each interpretation for their differences. I’ll always defend a mini-series, because I feel that a film’s 1 1/2 to 2 hour format cannot do justice to the layers of depth in an Austen novel.

      One criticism: Autumn de Wilde chose to concentrate on the luxurious lifestyles of the upper echelon in Highbury society, which makes this movie so visually appealing, but she fails to emphasize Miss Bates’s dire straits and poverty, and her reliance on charity from the community. Only Mr Knightley’s outburst at the picnic gives viewers who have not read Emma a slight clue.

      Stay safe and have a lovely weekend, V


  8. on March 13, 2021 at 05:27 songbirdalicia

    Correction: Michael Gambon (not Thompson)


  9. on March 14, 2021 at 15:39 K. J. Lindsey

    Nice review of the movie. I only saw it once (we streamed it when it became available that way after the shutdown). Your post has me recalling some of the scenes. Now i’m going to have to watch it again!


    • on March 16, 2021 at 17:29 Vic

      Kevin, I hope a re-watch will be satisfying. In my review I concentrated on the comedy aspects of the film, and downplayed the many deviations from the novel. However, I think Autumn de Wilde’s version is quite enjoyable on its own merits. Let me know what you think!


  10. on March 15, 2021 at 15:51 Lisa at Micro of the Macro

    Hi, Vic, this is a fun review, and it makes me want to rewatch the film. Emma has always been my least-liked Austen novel. So thanks! 🌞


    • on March 16, 2021 at 17:31 Vic

      Hi Lisa, Emma is definitely down my list of favorite JA novels, but as I get older I appreciate so many aspects more than when I was first introduced to the novel, that many passages seem new to me. Thanks for stopping by!


  11. on March 18, 2021 at 11:27 Christina Morland

    Just saw this version of Emma a few nights ago — and really enjoyed it, for many of the reasons you list here. Thanks for posting your thoughts. Loved reading about your take on the film!



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