A pastel-infused triumph from debut filmmaker Autumn de Wilde
Jane Austen and Anya Taylor-Joy do their part- but the entire mise-en-scene, from the décor to the costumes here is what sets it apart. There’s enough here to make Wes Anderson proud. Other films have been made in this mode, including Paddington 2 (2017). Wes Anderson is one of this generation’s greatest filmmakers- it would make sense to have this level of influence. Given the period genre Sofia Coppola’s Marie Antoinette is another.
Early in the film Taylor-Joy is in the handsome greenhouse and is framed by the door
Cotton candy pink, strong wallpaper work. Drapes—such splendor and detail- de Wilde’s camera literally ducks underneath a lovely drape at one point. And Taylor-Joy’s Emma even has a music book splashed with color
Bill Nighy’s easy charm and that colossal smoking jacket
Chapter breaks from Rushmore to mark the changes in the seasons
There have been many adaptations of Emma of course- 1995’s Clueless may be the most famous. Taylor-Joy and de Wilde decide to play Emma without any of Alicia Silverstone’s naivete. Taylor-Joy’s Emma is harder to wrap your arms around- duplicitous
If you still doubted Taylor-Joy’s talents (The Witch)- there’s a display of unspoken acting with her opening the carriage door with such condescension
A stand-alone stunner of Taylor-Joy’s Emma and Miranda Hart’s Miss Bates in front of the window
Have you seen the miniseries The Queen’s Gambit from 2020? It also stars Anya Taylor-Joy in a great role. I think there is enough artistic ambition there in some sequences, from the chess-match editing to a few nice tracking shots to the consistently lovely photography and mid-century production design, that it deserves a spot in the archives.
@Graham- I have not seen this one, no. Thanks for the recommendation though
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