Entertaining, evocative Bronte biopic plays fast and loose with truth
‘How did you write Wuthering Heights?’’ Charlotte Bronte (Alexandra Dowling) is almost incredulous, as she queries her younger sister Emily (Emma Mackey).
‘‘I took my pen – and put it to paper,’’ comes the defiant reply.
‘‘It’s an ugly book, full of selfish people who only care for themselves,’’ Charlotte sniffs.
Of course, that ‘‘ugly book’’ is now regarded as one of the greatest works of English literature, the subject of countless film and television adaptations.
But its author, who published it under the name Ellis Bell before her death aged just 30, has always been something of an enigma. Although part of a famous family – her sisters Charlotte and Anne wrote Jane Eyre and The Tenant of Wildfell Hall respectively – Emily had a reputation as a recluse.
British-Australian actor Frances O’Connor’s (A.I. Artificial Intelligence) lavish-looking and atmospheric directorial debut offers an entertaining theory as to the genesis of Wuthering Heights, but Bronte purists may bridle at it.
If you’re a stickler for historical truth, then Emily may leave you frustrated, as it conflates, twists and moulds events to suit its narrative.
However, if you’re looking to escape into a character study filled with gorgeous costuming, repressed feelings, caddish behaviour and Line of Duty’s Adrian Dunbar sporting horrendous mutton chops as Emily’s dad Patrick, then this will be just the ticket.
It is anchored by a terrific, compelling performance from Mackey (Sex Education, Death on the Nile) as the mesmerising daydreaming, wary Emily.
Emily has gained a reputation ‘‘as the strange one’’ among the villagers for her solitary nature, much to Charlotte’s frustration.
‘‘I won’t let you drag me down, I’m going to make something of myself,’’ she rants.
Hoping to impress the handsome new curate William Weightman (Oliver JacksonCohen), Charlotte is further exasperated by her sibling when she not only notes that ‘‘he’s not to be trusted’’ but channels their dead mother during an evening of frivolity.
That’s when it is decided Emily should join Charlotte at the school, a short-lived endeavour ended by intense homesickness.
As Charlotte urges her not to be a burden on their father, Emily begins to wonder if there is something wrong with her.
But rather than brood, she finds herself strangely drawn to Weightman and getting up to all sorts of mischief with her bon vivant brother Branwell.
However, any hope of happiness is shattered when the latter is sent away for ‘‘being a damaging influence’’ – and carrying on an affair with a married woman.
After being intimate with Emily, Weightman shuns her, muttering that they have ‘‘committed a mortal sin’’ and suggesting ‘‘there’s something ungodly in your writing’’, a conversation that drives her abroad and one he almost instantly regrets.
O’Connor’s Emily is certainly an impressive debut, demonstrating an assurance in the scripting and direction.
There’s an intimacy to the shooting style that draws the viewer in and if, tonally, it sometimes jars, that feels more a reflection of its central character’s awkwardness than a fault of the storytelling.
While not quite reaching the emotional or epic heights of this year’s New Zealand International Film Festival favourite Corsage, or the most recent adaptation of Jane Austen’s Emma, fans of costume dramas should leave more than satisfied.
Emily (M, 130 mins) Directed by Frances O’Connor Reviewed by James Croot ★★★1⁄2
Emily is screening now in select cinemas.