Margot Robbie and Jacob Elordi Reclaim Emily Brontë’s Wild Romance. (...)
Fennell’s screenplay and direction absorbs the audience, preserving the book’s refusal to moralize, justify, or judge its characters. “This is not a didactic film; it takes no moral position,” she remarks. It reshapes character, tone, and scale for the screen, and asks viewers to experience Cathy (Margot Robbie) and Heathcliff’s (Jacob Elordi) cruelty, charisma, and longing as both an intimate character portrayals and vivid spectacle. (...)
Fennell acknowledges the risk associated with the project. “Because I love the book so much, it felt exciting to see if I could make a version that I would accept as a fan. And then obviously it was a shameless excuse to work with everyone I love.”
For writers and directors considering adaptations, Fennell’s process is a model: start with the core feelings the source evokes, identify the elements that still resonate, and write a screenplay that privileges emotional truth over tidy moralizing and neat conclusions. The result, she hopes, is a film that does what the best adaptations do: it makes the original feel newly alive.
Emerald Fennell’s horny and indulgent adaptation is a bold reclamation of Emily Brontë’s misunderstood prose. (...)
The film’s explicitness will divide audiences. Scenes of raw sexual expression and bodily intensity replace Victorian repression with contemporary candour. It is unsubtle. It is melodramatic. It occasionally overstates its themes with the confidence of a director who knows subtlety has never been her brand. But Fennell understands something essential: Brontë’s work was never a polite romance. It was scandalous in its own time because it exposed love as violent, selfish, and corrosive. This version doesn’t romanticise toxicity; it presents it as a narcotic force that consumes everything in its path.
For purists, this will feel like heresy. For others, it will feel invigorating. Fennell doesn’t attempt to create a definitive “Wuthering Heights” – she creates a heightened, contemporary fever-dream interpretation. It is messy, excessive and occasionally self-indulgent, but it is never timid. In restoring the story’s feral energy and erotic charge, Fennell reminds us that classics endure not because they remain frozen, but because they can withstand being reimagined. This isn’t Brontë preserved in amber. It’s Brontë set alight. (Peter Gray)
Sensual film will give Emily Brontë purists a fit of the vapours.
If you’re happy to take it all with a pinch of salt, then you’ll likely enjoy this immensely. (...)
Margot Robbie gives a blackly comic performance as the bratty and self-absorbed ‘wretched shrew’ Cathy, Jacob Elordi delivers handsomely in the role of the scowling, brooding brute, and the backdrop of the bleak and windswept moor is beautifully captured by cinematographer Linus Sandgren.
All of which combines to deliver an epic in a minor key, in which each scene is more extravagantly dramatic than the last; the longer it goes on, however, the more the suspicion grows that the extravagance – the frou-frou frocks, Cathy’s dazzling bling, an excessively mannered fever-dream of inevitable doom unfurling – matters more than the characters themselves. (Declan Burke)
Above all, the film beautifully yet intensely portrays passion fading in today’s world. In an era where rationality and efficiency dominate even love and marriage, the primal love that threatens to consume each other provides a powerful catharsis. Margot Robbie, who portrays a candidly desirous Catherine, and Jacob Elordi, whose raw and wild charm captivates her, contribute significantly to the film’s allure. Audiences trapped in mundane reality will be swept into a storm of passionate emotions for two hours. (Baik Su-jin)
Lukewarm
‘Wuthering Heights’ is a raunchy and shallow take on a Brontë classic. (...)
Yet Fennell’s version branded itself as a film “inspired by the greatest love story of all time.” It is far from that. For starters, Elordi’s portrayal of Heathcliff returning as mysteriously wealthy and gentlemanly was framed as a makeover in a new season of “Bridgerton.” He was supposed to be rich, handsome, cruel, and vindictive. Meanwhile, Robbie’s starry-eyed Cathy was meant to be spoiled, selfish, and snobbish. The actress had the potential to make it work — as seen in her scoffs and eye rolls in scenes — but she was reduced to a Barbie doll for Runway. (...)
But if there’s one thing that’s worthy of praise, it’s the picturesque cinematography, which Fennell is a master of. She knows the right angles and how to make a scene aesthetically pleasing. Many of the scenes were even a callback to Technicolor. However, there are several instances in which a beautiful scene is prioritized over complexity, whereas Brontë’s novel is meant to be a disturbing commentary on social class, race, and the lengths one will go to in pursuit of revenge. (Hannah Mallorca)
Acción (Spain) (3 out of 5 stars)
Con independencia de lo que no está en el guion, esta adaptación de Cumbres borrascosas no supera los límites estructurales del libro de Emily Brontë ni los de las versiones de William Wyler —la mejor hasta la fecha—, Luis Buñuel —genial acercamiento a la esencia del relato decimonónico bajo el título de Abismos de pasión— y Peter Kosminsky. Semejante hecho desinfla en emociones extremas, al borde del delirio sobrenatural, la película de Fennell.
La responsable de Saltburn confía el mayor empaque de su puesta en escena a la química sensual que despliega la pareja formada por Jacob Elordi y Margot Robbie. La apuesta no sale mal parada, pero convierte a los apasionados Heathcliff y Cathy en individuos movidos por una atracción inestable y altamente carnal que nunca entona la letanía espectral presente en las otras versiones cinematográficas de la inmortal novela de Emily Brontë.
(Jesús Martín) (Translation)
Bad ones
Emerald Fennell’s Lackluster Take On Emily Brontë’s Classic Bodice-Ripper Never Steams Up. (...)
There’s lots of snogging but, after the excesses of Saltburn, the sex is surprisingly chaste, most of it left to the imagination. Neither is the script terribly funny, given what we might expect from Fennell’s famous black humor. Instead, it doesn’t ever really settle, moving from the Earnshaws’ decrepit home (the estate that gives the film its title) to the Lintons’ place, alternating austere, brutalist locations with beautiful but soullessly decorative sets that would be dismissed, respectively, as a bit too much by Robert Eggers and not enough by Melania Trump, whose Winter White Houses the Linton pile mostly resembles.
Most puzzling of all is the weird absence of any significant oomph; it’s simply watched from afar by Nelly (now Hong Chau), who is always being fired but never seems to leave, in by far the most thankless role in the movie. A key stumbling block is Heathcliff’s thick Yorkshire accent, which is about as erotic as phone sex with Ozzy Osbourne, but an even bigger problem is that from the midpoint on, Fennell’s film has played its entire hand and lurches to an end almost entirely bereft of subtext. Top hats off, then, to Clunes as the only complex character in the movie; too bad that, once Mr. Earnshaw is killed off, death for everyone within a five-mile radius begins to seem like a very enticing prospect. (Damon Wise)
Emerald Fennell’s ‘Interpretation’ Of The Brontë Classic Is Hollow, Lacks Narrative Depth
Classics should be left alone! (...)
By robbing the prime narrative, Fennell left no room for the character arcs, ultimately leaving plots all over the place. Passion is what defines Wuthering Heights, but so are forbidden love, class hierarchies, racism, and morality. It can’t be all erotica when it comes to yearning and volatile love. In addition, the pairing did not fit the narrative. Both brought in their individual craft, but together, their chemistry was so out of place. There was no spark or emotion in their arc. (Madhurima Sarkar)
ABC (Spain): (2 out of 5 stars)
El hueso está, pero al caldo le falta sustancia Brontë
Margot Robbie y Jacob Elordi se lanzan apasionadamente y con afanes destructivos el uno contra el otro, pero con una inquietante maquinaria sentimental como de telenovela. (...)
Margot Robbie y Jacob Elordi tienen, desde luego, la 'pócima' suficiente en su físico como para provocar esos amores desquiciados, y se lanzan apasionadamente y con afanes destructivos el uno contra el otro, pero con una inquietante maquinaria sentimental como de telenovela (al fin y al cabo, cumple su papel de obra fundacional, preludio, de las telenovelas 'modernas'). Están bien, arrebatados, atractivos, doloridos, pero están mucho mejor esos personajes en su versión infantil, con Owen Cooper y Charlotte Mellington, y explican mejor y sin necesidad de arrumacos y 'te quieros' la comunión de alma de sus personajes. Margot Robbie es insuperable en papeles descabellados, pasados de rosca y con su punta de comedia y picardía, pero no se acaba de encontrar por estas cumbres tan serias, pretenciosas y algo llanas.
(Oti Rodríguez Marchante) (Translation)
El resultado es, precisamente, una visión inmadura que despoja a la obra de su complejidad para convertirla en un producto de consumo estético.
La novela original de 1847 constituye una de las piezas más violentas y crudas de la literatura inglesa. Emily Brontë escribe sin tapujos sobre el odio, la exclusión social y el ciclo del abuso.
Sin embargo, Fennell decidió ignorar estas tensiones para centrarse en una interpretación libre que no le hace justicia al libro. Hay una orfandad de una narrativa que traiciona su origen.
Adaptar Cumbres borrascosas requiere una comprensión del horror y la depravación. Sí, el filme cubre la estructura de la historia, pero con una colección de fetiches visuales y un erotismo que confunde la obsesión metafísica con la urgencia hormonal. (...)
Esta simplificación podría ser la mayor traición a la literatura de los últimos tiempos.
Emily Brontë escribió una obra maestra de la crueldad y la pasión. Emerald Fennell dirigió un videoclip suntuoso con seda y luces de neón que desaparece de la memoria en cuanto se encienden las luces de la sala. (
Karem González)
(Translation)
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