EMMA: Blu-ray (Perfect World/Working Title/Blueprint/Focus Features, 2020) Universal Home Video

Visually, a much embellished, though nevertheless joyless remake of Douglas McGrath’s 1996 classic, Emma, director, Autumn de Wilde’s homage to Jane Austen’s most enterprising heroine lacks one memorable face in the crowd to make her 2020 reincarnation anything better than a pleasurably diverting confection. Absent is the soul of the piece; also, the winsome, yet devious, and, thoroughly devil-may-care twinkle of flawed romantic larceny that Gwyneth Paltrow’s Emma Woodhouse possessed in spades. In her wake, de Wilde has settled on Anya Taylor-Joy – a kitten-faced beauty with saucer eyes, who otherwise ranks as just another decorous appendage among so many forgettable baubles on display here. Christopher Blauvelt’s cinematography presents us – always – with a most fastidious and sublimely attractive portrait of Regency-era England, with Kave Quinn’s exquisite production design and Alexandra Byrne’s empire-waist costumes doing the real/reel heavy lifting here. Alas, well-designed trappings and key-lit cinematography alone are not enough to rescue the divine Ms. Woodhouse from steadily devolving into a sort of elegant clotheshorse. Sorely missed too is a memorable score; the tepid offerings on tap here by David Schweitzer and Isobel Waller-Bridge, in no way rivaling Rachel Portman’s instantly memorable underscore from 1996.

It is perhaps pointless to compare the two movies, as one should no more anticipate any remake to merely tread once again on hallowed ground already made sacred. But the fact remains, McGrath’s movie – while not strictly adhering to Austen – nevertheless managed to embody the sentiment, temperament, cadence and flavor of Austen’s finely wrought world of mores and mannerisms, something de Wilde’s remake seems incapable of even aspiring to achieve. The real letdown here is Eleanor Catton’s screenplay – sparse on dialogue, and, wholly unable, except in fits and sparks, to translate Austen into anything more enlivening than a Madam Tussaud’s wax works come to life. Seemingly aware of this shortcoming, de Wilde veers from offering us anything better than background scenery as her characters devolve from wooden caricatures into threadbare stick figures with no soul – a sound bite here, a pithy one-liner there, cutting back and forth, and, book-ended by Blauvelt’s smartly photographed and visually arresting exploitation of various English country estates.  The cast needs to be held accountable. For although each offers a relatively competent reading of their characters, none manages to stand in relief from this otherwise exquisite backdrop of Austen-esque corn.

The picture also makes the rather grave misfire of reworking the character of George Knightley (Johnny Flynn) as a thoroughly ineffectual fop, prone to bouts of tearful emoting. Sorry, but Austen’s masculine figures were never in touch with their ‘feminine side’. Nor was her heroine afflicted by an interminable spate of fish-eyed stares and nosebleeds. Nevertheless, the residual fallout from Hollywood’s ‘me too’ movement appears to have afflicted yet another period costume drama in unflattering ways; the male figures here, drawn from comic relief rather than life. Toggling back the years, and relying on youth, does not help either, as Josh O’Connor’s Vicar Elton – an effete and pontificating fool already, herein made sadistic in his rejection of the shy and naïve, Harriet Smith (Mia Goth), and, Callum Robilliard Turner’s square-jawed Frank Churchill, baiting our Emma until such time as he may legally wed his true love, Jane Fairfax (Amber Anderson), are mere boys in men’s attire, incapable of making us care about their manly pursuits, already fancified by Austen’s more revealing impressions of such paragons of virtue. Aside: I could have also sincerely done without Flynn’s flash of ass flesh at the outset of this movie.

Our story opens with Emma Woodhouse’s bittersweet quest for a new companion after her governess, Miss Taylor (Gemma Whelan) is wed to Mr. Weston (Rupert Graves). Initially, Emma had encouraged this match, perhaps unprepared it would lead directly to an ‘understanding’ and then, swiftly to marriage. As her new ‘hobby’, Emma settles on Harriet Smith, a green girl reported to be the ‘unclaimed child’ of a gentleman. Although Harriet's parentage remains a mystery, her education has been provided for. Emma unearths another ‘understanding’ between Mr. Robert Martin (Connor Swindells) a tenant farmer and Harriet. Although promising her father (Bill Nighy) she will not indulge her matchmaker’s verve, Emma nevertheless influences Harriet to reject Mr. Martin as Emma now believes the vicar of their small church, Mr. Elton, is entertaining romantic overtures toward Harriet; a definite step up in the social caste. At Christmas, Emma finds herself alone in a carriage with Mr. Elton, who instead declares his love for her. Shocked – and frankly, reviled by this turn of events, she sternly rebukes him. Shortly thereafter, Mr. Elton departs the parish for an extended leave, returning with a wife, Augusta (Tanya Reynolds) who is as opinionated as she is unattractive. Emma comes to resent Jane Fairfax, the governess niece of Miss Bates (Miranda Hart) as she has since taken a fancy to Mr. Churchill, Mr. Weston's son from a previous marriage.

The Westons decide to hold a ball in Frank’s honor where Mr. Elton behaves badly by refusing to dance with Harriet who is, thanks to Emma’s meddling, now considered the unworthy wallflower. Harriet is chivalrously rescued by Mr. Knightley, who engages her in a dance. Emma and Mr. Knightley also share a dance, to rekindle romantic feelings between them. However, Emma departs from the ball before Mr. Knightley can speak to her. He then follows her home. Alas, their assignation is interrupted when Mr. Churchill appears carrying Harriet in his arms; she, having been accosted by gypsies. Harriet intimates to Emma she is in love. Emma believe Harriet’s affections are stirred by Mr. Churchill, and, vigorously endeavors to allow them as much quiet time together to procure their romance. Alas, Emma is perplexed when Mr. Knightley steadily begins to ignore her.  During a picnic with their social acquaintances, Mr. Churchill instigates a game of amusements that ends badly when Emma thoughtlessly insults Miss Bates, who – once established, though now quite indigent – is otherwise entirely dependent on Emma’s kindness as a reflection of how others should treat her. This misfire on Emma’s part results in Miss Bates’ thorough chagrin and the premature disbanding of the gathering to everyone’s discomfort. Afterward, Mr. Knightley isolates and rebukes Emma who is already feeling quite guilty about her behavior. Contrite, Emma apologizes to Miss Bates, who is most accepting of her act of contrition.

Meanwhile, Frank Churchill's wealthy aunt dies. As he is no longer obligated to be at her beck and call, Mr. Churchill pursues Jane Fairfax, the girl who has always been closest to his heart, but whose company he was denied while his aunt lived. The Westons presumed Mr. Churchill would wed Emma. However, Emma is only mildly distressed on Harriet’s account. Only now, Emma learns Harriet is actually in love with Mr. Knightley.  Alas, Harriet is no fool and realizes Emma too is in love with Mr. Knightley. Arriving with words of comfort for Emma, Mr. Knightley at long last confesses his love for her. Torn in her loyalties, Emma elects to make amends with Mr. Martin with whom Harriet now informs Emma she has accepted in marriage. Harriet further reveals that she has since discovered her father is not of the gentleman’s class, rather a tradesman who makes galoshes. Therefore, her wedding Mr. Martin is fitting as she too belongs to the working class. Concerned to depart her aged father, who very much lives with regrets as the women in his life have all been married off and departed his estate, Emma momentarily rejects Mr. Knightley, until he offers to come live with them on her father’s estate. Happily, Emma agrees and she and Mr. Knightley are wed.

I had very high hopes for this reboot of Emma. But the more deeply entrenched I became in wanting to love de Wilde’s lengthy and tedious excursion, the more I began to sincerely pine for McGrath’s 1996 movie in its stead. Like Greta Gerwig’s 2019 remake of Little Women, it is not enough for future film-makers, endeavoring to pay their own homage to such literary classics, merely to aspire to do something ‘new’ or ‘different’ with this time-honored material. Re-inventing the wheel, as it were, only works so long as the revisions can be celebrated in their own right, not just for their differences, but more as an offering made of fresh and invigorating improvements. De Wilde’s Emma merely gilds a lily that was already in full blossom in McGrath’s 1996 movie, starring Gwyneth Paltrow. Similarly, and to date, no finer version of Little Women exists than Gillian Armstrong’s all-star effort from 1994. De Wilde’s Emma is merely present and accounted for. It looks the part of a sumptuous period costume drama – decidedly so, infused with all the visualized finery and finesse of a resplendent and painterly masterpiece by Frederic Leighton. But it lacks charm, heart, and, a genuine passion for these Austenian archetypes that, under McGrath’s direction, and more deftly resolved by a more mature and memorable cast, emerged on the screen as flesh and blood people we could sincerely become invested in and care about. The adorned figures in de Wilde’s reboot are merely glorified and statuesque cardboard cutouts. Honestly, can we just get some U.S. distributor to release the 1996 movie in remastered hi-def?

Emma arrives on Blu-ray via Universal Home Video in an absolutely stunning 1080p transfer that will surely not disappoint. Christopher Blauvelt’s cinematography is superbly recreated here with bold and enveloping colors, richly saturated. Contrast is excellent and the realization of fine details could scarcely be more accurately resolved. This is a reference quality effort that deserves an A+ rating on any scale by which hi-def transfers are graded. So, definitely zero complaints here. Ditto for the DTS 5.1 audio, resplendently resolved with crisp dialogue and punctuated bursts of Isobel Waller-Bridge and David Schweitzer underwhelming underscore – sadly, a wan ghost flower of Rachel Portman’s efforts in 1996. Extras include a rambling audio commentary from director, various cast and crew, and several disposable featurettes on the production – also, a gag reel in which we get to hear most of the principals step out of character with some fairly blue language of which Jane Austen would never have approved. Bottom line: Emma (2020) is a visual treat, but an otherwise fairly flat and uninspired thing. For those seeking the near-perfect embodiment of Austen’s meddlesome heroine and her delightful cohorts, try and find an old DVD copy of 1996’s Emma to completely satisfy the urge. What the DVD lacks in visual refinement, it more than makes up for with effervescent and thriving characterizations. As for this version, vacuous and overly simplified, populated by generic 'good-looking' faces – pass, and be very glad that you did.  

FILM RATING (out of 5 – 5 being the best)

2

VIDEO/AUDIO

5+

EXTRAS

2.5