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Emma Mackey was seen with her co-stars Amelia Gething and Alexandra Dowling for the first time on Wednesday as they film a new biopic about author Emily Brontë.The trio transformed into the famous siblings on set with Emma, 25, portraying literary icon Emily Brontë, Amelia, 22, as Anne and Alexandra, 31, as Charlotte.Dressed in period costumes, the three co-stars got stuck into filming duties which took place in Haworth, Yorkshire. [...]The Spanish Princess star Amelia, who is portraying Anne, wore a period costume which consisted of a brown patterned corset dress with a matching bonnet.The actress, in character, appeared animated as she excitedly chatted to her onscreen sisters after receiving a letter.The Musketeers star Alexandra, who is portraying Charlotte, wore a pink patterned corset dress with her hair tucked underneath a black bonnet.Marking Frances O'Connor's directorial debut, Emily - which is yet to have a release date - will follow the story of the famous author, best known for her iconic novel Wuthering Heights.The upcoming film will see Emma join the likes of Line Of Duty's Adrian Dunbar and Ammonite star Gemma Jones.Dunkirk's Fionn Whitehead, The Musketeers' Alexandra and The Spanish Princess star Amelia complete the line-up. (Olivia Wheeler and Roxanne Simons)
If you don’t know who Branwell Brontë is or what doing something “in typical Branwell Brontë form” entails, you’re not alone. The only and oft-overlooked brother of the Brontë clan, history remembers Branwell — when it remembers him at all — as the unsuccessful, black sheep brother of his famous sisters. Despite displaying an early love and talent for literature, Branwell never came close to the literary success of his sisters. As an adult, he bounced around from job to job, picking up various artistic pursuits that came to little fruition while his sisters wrote their masterpieces. Aside from being the Brontës’ brother, he’s mostly known for having an ill-fated affair with an older married woman, getting addicted to opium and alcohol, racking up a lot of debt, then coming home to fulfill the family tradition of dying young. His one significant contribution is a portrait he painted of his three sisters in 1834, which hangs in National Portrait Gallery. It’s one of the best known paintings of the Brontës — even the most casually literate would know it if they saw it — but, it’s also an embodiment of Branwell’s legacy, one that one rests entirely on the success of his sisters. In fact, Branwell originally painted his own likeness alongside Charlotte, Emily and Anne, but later painted himself out of the now-iconic portrait, as if in acknowledgement that his own name, reputation and talent would always be overshadowed by that of his famous sisters.Though widely regarded — again, when he is regarded at all — as a failure, perhaps Branwell Brontë was simply ahead of his time. As the less successful, overshadowed and overlooked brother of three famous women, Branwell seems to have a 21st-century successor in the form of one Rob Kardashian. The younger brother of Kim, Kourtney and Khloé, the three Kardashian sisters responsible for first catapulting the Kardashian-Jenner clan to the heights of international stardom the family enjoys today, Rob has never approached the level of fame nor financial success of his sisters (or his younger half-sisters Kendall and Kylie, though their presence kind of throws off this analogy a little).Despite making frequent appearances in early seasons of Keeping Up With the Kardashians, Rob failed to grow with the family’s expanding empire and has since largely faded out of the greater Kardashian narrative. Today, he’s best known for starting a marginally successful sock line, having a disastrous relationship with Blac Chyna, starring in a short-lived reality show detailing just how disastrous the whole thing was, and then all but vanishing from — or perhaps painting himself out of — the Kardashian family portrait.We tend to think of these lesser-known brothers of famous women as failures, but maybe their willingness to be overshadowed by the more powerful women in their lives is actually an act of bravery, or at least noble forfeiture. Perhaps in stepping out of their sisters’ limelight, in painting themselves out of the family portrait, these black sheep brothers are actually sacrificing themselves in the name of matriarchal power, or at least willfully conceding to it. (Kayla Kibbe)
What book changed your life?Emily Brontë’s “Wuthering Heights.” It was the first book I read that showed me what was possible out of a woman’s life that was marked by wounds and oppression, and from an imagination and passion that seemed limitless. (Peter McDermott)
Similarly Emily Brontë’s Wuthering Heights is much darker in its depiction of impassioned and illicit love than the literary legion of titillating pulp fiction that glamorizes adultery. Brontë’s novel horrifies us with the destructive consequences of selfish obsession masquerading as love; modern novels treat the same phenomenon as attractive and harmless pleasure-seeking. The former shames the devil, warning the reader of the dangers of selfishness, the latter does the devil’s dirty work, serenading us with the sensuality of lust. The former shows us Catherine and Heathcliff in their self-made hell, the latter places Paolo and Francesca in an adulterous heaven. The former uses the art of darkness to show us the truth, the latter the dark arts to weave a seductive lie. Ultimately the chasm that separates the virtue of the former with the vice of the latter is as wide as the unbridgeable abyss between hell and purgatory. (Joseph Pearce)
‘The Disappearing Act,’ by Catherine Steadman (Ballantine, June 8)In this thriller, a British actress named Mia Eliot arrives in Los Angeles after a star turn in an adaptation of “Jane Eyre,” hoping to advance her career. Steadman, herself an actress who has appeared in “Downton Abbey,” is particularly acute when capturing the absurdities (and humiliations) of Hollywood, especially when Mia struggles to adapt. A young woman named Emily asks Mia for a favor, then vanishes — and no one else remembers ever seeing her. (Joumana Khatib)
Masha has other problems on her mind. Her father died in an unexplained military accident in Chechnya. And she fears that the Russian secret service are out to bump her off. These stories don’t mesh well with the central narrative. But then the central narrative doesn’t mesh well with itself. Masha knows little of the English language and nothing about British culture. ‘Some of the people are so poor they ride bicycles,’ she says. Her linguistic expertise is limited to her study of Wuthering Heights but somehow she has mastered the complex patois of south London, and she can pose convincingly as a black teenager from Peckham named Zayla. That doesn’t ring true. (Lloyd Evans)
The Netflix series was never just a job; Page saw it as an opportunity to represent a new type of leading man to a global audience. While Simon fits into the brooding and broken archetype of Mr. Darcy and Heathcliff, the romance genre takes a big step into the 21st century both by exploring the underlying toxicity of those personality traits and by putting a Black man at the center of the narrative. “Me and my friends used to joke about the fact that you don’t see a Black man on a horse,” Page says, discussing the lack of representation in media. (Angelique Jackson)
Anne Brönte's book signing is a disaster pic.twitter.com/KNd1T7QSkf
— Eleanor Morton (@EleanorMorton) May 25, 2021
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