As a work, this Wuthering Heights album is definitely evocative and occasionally cerebral, urging listeners to engage with its dramatic chordal changes with agitation and high alert. A cosy Frank Sinatra album, such as the cosy Sunday afternoonish Come Dance With Me!, it is not. (...)Inside or outside the Brontëverse, “My Reminder” has a bounciness that merits standalone listening. Surfeited with playful drum patterns, the vocals wrap tightly to the fuzzing see-saw keyboard undulating beneath the song. (Eoghan Lyng)
Her post-mortem is simple. She told the Mirror: “For those with short attention spans who prefer aesthetics and moody romance over moral complexity? Four stars. For people who’ve read the book? Deep frustration. Two stars.” (...)“With her take on Wuthering Heights, Fennell delivers exactly that - a highly stylised, divisive, aesthetically intoxicating spectacle. What she doesn’t deliver is an adaptation of Wuthering Heights. And that’s the problem. (...)“It was frankly cringe watching Robbie and Elordi deliver teenage dialogue that felt painfully modern in the mouths of 18th-century characters. Robbie, in particular, could have benefited from longer sessions with a dialect coach.” (...)However, one thing seems to be agreed upon. Elordi’s brilliance as a leading hunk. Owusu-Sekyere said the Kissing Booth star “shines as a leading man, sporting a surprisingly decent Yorkshire accent and carrying the film’s brooding physicality well.” (...)“Yes, the film is emotional. In the final five minutes, as the montage swelled and the score soared, I saw women around me wiping away tears. It’s easy to win over an audience with perfectly spliced childhood-to-adulthood flashbacks and a rousing orchestral score.“But I couldn’t help wondering how many were waiting for the gothic haunting that never arrived. The biggest omission - and the one that left me genuinely baffled - is the ghost.” (...)“Turning Isabella, a victim of domestic abuse in the novel, into a quirky BDSM sub is certainly… a choice.“I’m not a purist. I love when filmmakers turn text into immersive 3D worlds but here, the elevation feels superficial and deliberately hollow. The infuriatingly unlikeable characters and obsessive brutality that makes Wuthering Heights endure has been replaced with ‘#vibes’. (Emilia Randall)
Professor Helen Archer said: “We forget the context in which the Brontë’s were writing. Everyone then was shorter, so Heathcliff would have been towering at 5ft 6in – exactly the height of Mr Sunak.”“Scholars have struggled to pinpoint the character’s ethnic background, but evidence such as dark eyes, dark hair and a chapter in the original manuscript where he cooks a biryani point to his being Punjabi Indian.“The cruelty and animalistic passion of Heathcliff must be balanced with the instincts that earned him a fortune in Victorian England, so he would have the clipped, nerdy intonation of a former analyst at Goldman Sachs. (...)“So yes, all the evidence suggests Margot Robbie should have been making out with the member for Richmond and Northallerton. But Hollywood predictably ignores this because nobody could wank over that smarmy twat.”
«Siempre que vas a ver una película basada en un libro, sales desilusionado si esperas que cada acción sea igual», sostiene. Para ella, el error no está necesariamente en la adaptación, sino en la expectativa. La directora del film (recuerda) ha realizado una reinterpretación, no una copia literal. Y eso exige aceptar que el cine tiene su propia narrativa visual.Donde sí se muestra más contundente es en el apartado estético. La primera parte de la película le convence. Destaca la atmósfera gótica, la lluvia constante, los paisajes agrestes que reflejan la intensidad emocional del relato. Esa Inglaterra oscura y ventosa conecta, a su juicio, con el espíritu borrascoso de la obra.Sin embargo, cuando la protagonista cambia de estatus social, algo se rompe. Aparecen dorados excesivos, una decoración que le resulta demasiado barroca, más cercana al siglo XVIII que a la segunda mitad del XIX. Y entonces dispara una de las frases más comentadas: «Parece un pastelón de Disney». (Patricia De La Torre) (Translation)
Cumbres Borrascosas mantiene viva la confrontación y el debate en la relación entre Catherine y Heathcliff, que despliega, como en un campo de batalla, las clases sociales y las pulsiones íntimas, también limitadas, algo esperable en esta directora.Robbie le aporta a Catherine sensaciones que oscilan entre la fragilidad y la crueldad, mientras Elordi encarna un Heathcliff menos espectral y más humano, mucho más frágil, atrapado en la contradicción entre deseo y resentimiento. La película insiste en que el amor aquí no es redentor; sino destructivo: un vínculo que corroe y arrastra hasta morir. Juzguen ustedes. (Daniel Rojas Chía) (Translation)
One thing that Fennell always gets right is the aesthetic and overall palette of her films and Wuthering Heights was no different. It was delicious, a feast for the eyes and I was captivated. One scene in particular in which Cathy finds her drunken Father Mr Earnshaw (Martin Clune) deceased from his alcoholism surrounded by multitudes of oversized green bottles piled high was particularly well produced. The stylised opening of the film and gorgeous credits paired with Charlie XCX and John Cale's spoken word segments of House set the tone for the film; erotic, thrilling, and dramatic.Unfortunately, those were the only positives I took away from Wuthering Heights. The casting was very unfortunate and watching Elordi desperately attempt a Yorkshire accent as he bleated the words "Cath! Cath!" pulled me straight back out of the scenes. The soundtrack itself felt especially incongruous and provoked a feeling that was akin to watching an hour long Charlie XCX music video. The plot deviated greatly from the original story, almost so much I didn't even believe I was watching Wuthering Heights. (Emily-Maisy Milburn)
The production design by Suzie Davies is wonderful. Massive strawberries, the industrial nihilist vibe of Wuthering Heights, Cathy’s bedroom coloured in the shade of her skin (complete with veins and freckles) – all of it is screamingly camp and deliciously ghoulish. The blood decked floors and sconces made of grasping hands reaching for the sky are macabre and belong in a much darker movie. Then there is that exquisite dollhouse made to look like Thrushcross Grange complete with creepy little dolls of Cathy and Edgar (the scene where Isabella brutally murders Cathy’s doll is hysterical). Davies’ work is stunning and sure to be remembered at next year’s Oscars.“Wuthering Heights” is sumptuous, shallow, silly and utterly vanilla. A grand love story shorn of all darkness and complexity which fizzles briefly to life whenever Alison Oliver and Jacob Elordi share screentime. Emily Brontë would hate it, but younger viewers unfamiliar with the novel will find plenty to enjoy. (Naomi Roper)
Olivia gave a terrific performance as Jane at all stages and ages. Her bio in the programme said she “hopes to continue acting in the future”.Judging from the reception she received at the curtain call, it was clear many in the audience felt likewise, as must The Priory players. Olivia portrayed a range of emotions from fear and loneliness to joy and expectation.She projected well and conveyed the intensity and nuance of Jane’s feelings in every situation. (Charles Essex)
ScreenRant publishes a Wuthering Heights family tree. Times Now News publishes a three-minute recap of the novel. Epicstream looks into previous adaptations of the novel. Espinof wonders why cinema always takes the easy way and cuts the second half of the novel. El Litoral tries to answer the question of why cinema always comes back to Emily Brontë's novel. Esquire debates the (bloody) ending of the film. More websites discussing the film: Diario Puntual (México), El Congresista (México)...
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