REVIEW: Frances O’Connor’s directorial debut, 'Emily,' is an atmospheric and irreverent biopic about a woman about whom very little is known.
“How did you write ‘Wuthering Heights?’” pinch-faced buzzkill Charlotte Brontë asks her dying sister during the opening moments of “Emily,” actress Frances O’Connor’s atmospheric and welcomely irreverent directorial debut.
O’Connor’s film — for which she also wrote the screenplay — is likewise mostly made-up stuff. So little is known about Emily’s actual life and times that the picture is free to indulge in thrillingly salacious speculations and semi-informed attempts to explore the roiling passions and mercurial contradictions that might have inspired our socially awkward wallflower to put pen to paper. It’s a very modern movie about the idea of being Emily Brontë, misfit of the moors.
I recently started reading “Wuthering Heights” myself and what’s immediately striking to anyone who feels like they’ve already absorbed the story through cultural osmosis is how forbidding and strange it feels. It’s a novel of not just illicit passions but of poisonous resentments and their grotesque, distorting effects.
Similarly, there’s a throbbing vitality to the filmmaking here that’s a far cry from your classical corseted dramas. Having played Emma Bovary for the BBC and starred in “Mansfield Park” during the late-‘90s Jane Austen gold rush, this is a genre with which O’Connor is intimately familiar, but her “Emily” has a thrillingly reckless visual sensibility. The camera hurtles through these rough-hewn landscapes with jump-cuts punching us through the story in leaps and bounds.
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