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claudia1829things · 1 year ago

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"EMILY" (2022) Review

"EMILY" (2022) Review

I have been aware of only four productions that served as biopics for the Brontë family. I have seen only three of these productions, one of them being a recent movie released in theaters last year. This latest movie, the first to be written and directed by actress Frances O'Connor, is a biopic about Emily Brontë titled "EMILY".

This 2022 movie began with a question. While Emily Brontë laid dying from tuberculosis, her older sister Charlotte asks what had inspired her to write the 1847 novel, "Wuthering Heights". The story flashed back to 1839, when Charlotte returned home to the Haworth parish in West Yorkshire to visit before her graduation from school. Emily attempts to re-connect with the older sister about her fictional works, but Charlotte merely dismisses her creations as juvenile activities. Around the same time, their father Patrick, the parish's perpetual curate receives a new curate name William Weightman. While Charlotte, younger sister Anne and several young women seem enamored of the handsome newcomer, only Emily is dismissive of him. Emily accompanies Charlotte to the latter's school to learn to become a teacher and their brother Bramwell goes to study at the Royal Academy of Arts. Both Emily and Branwell return shortly to Haworth after as failures. When Branwell manages to find a job as a tutor, the Reverend Brontë charges William to provide French lessons to Emily. What began as lessons in French and religious philosophy lessons, eventually evolves into a romantic entanglement between the pair.

"EMILY" managed to garner a good deal of critical acclaim upon its release in theaters, including four nominations from the British Independent Film Awards. It also won three awards at the Dinard British Film Festival: Golden Hitchcock, Best Performance Award for leading actress Emma Mackey and the Audience Award. I have no idea how much "EMILY" had earned at the U.K. box office. But in North America (the U.S. and Canada), it earned nearly four million dollars. Regardless of this . . . did I believe "EMILY" was a good movie? Did it deserved the accolades it had received not only from film critics, but also many moviegoers?

I cannot deny that the production values for "EMILY" struck me as first-rate. I believe Steve Summersgill did a first-rate job as the film's production designer. I thought he had ably re-created Britain's West Yorkshire region during the early 1840s with contributions from Jono Moles' art direction, Cathy Featerstone's set decorations and the film's art direction. Nanu Segal's photography of the Yorkshire locations created a great deal of atmosphere with moody colors that managed to remain sharp. I found myself very impressed with Michael O'Connor's costume designs. I thought he did an excellent job in not only re-creating fashions from the end of the 1830s to the late 1840s, he also ensured that the costumes worn by the cast perfectly adhered to their professions and their class, as shown below:

However, according to a relative of mine, Emily Brontë's fashion sense had remained stuck in the mid-to-late 1830s, something that the 2016 movie, "TO WALK INVISIBLE" had reflected. On the other hand, "EMILY" had the famous author wearing up-to-date fashion for someone of her class:

And I must admit that I found those moments featuring actress Emma Mackay wearing her hair down . . . in an era in which Western women did no such thing . . . very annoying. Otherwise, I certainly had no problems with the movie's production values. The movie also included a fascinating scene in which Emily had donned a mask and pretended to be the ghost of the Brontës' late mother during a social gathering. The scene reeked with atmosphere, emotion and good acting from the cast. I also found the scene well shot by O'Connor, who was only a first-time director.

"EMILY" also featured a first-rate cast. The movie featured solid performances from the likes of Amelia Gething as Anne Brontë, Adrian Dunbar as Patrick Brontë, Gemma Jones as the siblings' Aunt Branwell, Sacha Parkinson, Philip Desmeules, Veronica Roberts and other supporting cast member. I cannot recall a bad performance from any of them. The movie also featured some truly excellent performances. One came from Fionn Whitehead, who gave an emotional performance as the Brontë family's black sheep, who seemed overwhelmed by family pressure to succeed in a profession or the arts. Alexandra Dowling gave a subtle, yet charged performance as Charlotte Brontë, the family's oldest sibling (at the moment). Dowling did an excellent job of conveying Charlotte's perceived sense of superiority and emotional suppression. I wonder if the role of William Weightman, Reverend Brontë's curate, had been a difficult one for actor Oliver Jackson-Cohen. I could not help but notice that the role struck me as very complicated - moral, charming, intelligent, passionate and at times, hypocritical. Not only that, I believe Jackson-Cohen did an excellent job of conveying the different facets of Weightman's character. The actor also managed to create a dynamic screen chemistry with the movie's leading lady, Emma Mackey. I discovered that the actress had received a Best Actress nomination from the British Independent Film Awards and won the BAFTA Rising Star Award. If I must be honest, I believe she earned those accolades. She gave a brilliant performance as the enigmatic and emotional Emily, who struggled to maintain her sense of individuality and express her artistry, despite the lack of support from most of her family.

"EMILY" had a great deal to admire - an excellent cast led by the talented Emma Mackey, first-rate production designs, and costumes that beautifully reflected the film's setting. So . . . do I believe it still deserved the acclaim that it had received? Hmmm . . . NO. No, not really. There were two aspects of "EMILY" that led me to regard it in a lesser light. I thought it it was a piss poor biopic of Emily Brontë. I also found the nature of the whole romance between the author and William Weightman not only unoriginal, but also unnecessary. Let me explain.

As far as anyone knows, there had been no romance - sexual or otherwise - between Emily Brontë and William Weightman. There has never been any evidence that the two were ever attracted to each other, or one attracted to the other. Many have discovered that the youngest Brontë sister, Anne, had been attracted to Weightman. In fact, she had based her leading male character from her 1947 novel, "Agnes Grey", on the curate. There have been reports that Charlotte had found him attractive. But there has been no sign of any kind of connection between him and Emily. Why did Frances O'Connor conjure up this obviously fictional romance between the movie's main character and Weightman. What was the point? Did the actress-turned-writer/director found it difficult to believe that a virginal woman in her late 20s had created "Wuthering Heighs"? Did O'Connor find it difficult to accept that Emily's creation of the 1847 novel had nothing to do with a doomed romance the author may have experienced?

Despite Mackey's excellent performance, I found the portrayal of Emily Brontë exaggerated at times and almost bizarre. In this case, I have to blame O'Connor, who had not only directed this film, but wrote the screenplay. For some reason, O'Connor believed the only way to depict Brontë's free spirited nature was to have the character engage in behavior such as alcohol and opium consumption, frolicking on the moors, have the words "Freedom in thought" tattooed on one of her arms - like brother Branwell, and scaring a local family by staring into their window at night - again, with brother Branwell. This is freedom? These were signs of being a "free spirit"? Frankly, I found such activities either immature or destructive. Worse, they seemed to smack of old tropes used in old romance novels or costume melodramas. In fact, watching Emily partake both alcohol and opium reminded me of a scene in which Kate Winslet's character had lit up a cigarette in 1997's "TITANIC", in order to convey some kind of feminist sensibility. Good grief.

What made O'Connor's movie even worse was her portrayal of the rest of the Brontë family. As far as anyone knows, Reverend Brontë had never a cold parent to his children, including Emily. Emily had not only been close to Branwell, but also to Anne. And Branwell was also close to Charlotte. All three sisters had openly and closely supported each other's artistic work. Why did O'Connor villainize Charlotte, by transforming her into this cold, prissy woman barely capable of any kind of artistic expression? Why have Charlotte be inspired to write her most successful novel, "Jane Eyre", following the "success" of "Wuthering Heights", when her novel had been published two months before Emily's? Why did she reduce Anne into the family's nobody? Was it really necessary for O'Connor to drag Charlotte's character through the mud and ignore Anne, because Emily was her main protagonist? What was the damn point of this movie? Granted, there have been plenty of biopics and historical dramas that occasionally play fast and loose with the facts. But O'Connor had more or less re-wrote Emily Brontë's life into a "re-imagining" in order to . . . what? Suggest a more romantic inspiration for the creation of "Wuthering Heights"?

I have another issue with "EMILY". Namely, the so-called "romance" between Brontë and Weightman. Or the illicit nature of their romance. Why did O'Connor portray this "romance" as forbidden? A secret? I mean . . . why bother? What was it about the pair that made an open romance impossible for them? Both Brontë and Weightman came from the same class - more or less. Weightman had been in the same profession as her father. And both had been college educated. Neither Emily or Weightman had been romantically involved in or engaged to someone else. In other words, both had been free to pursue an open relationship. Both were equally intelligent. If the Weightman character had truly been in love with Emily, why not have him request permission from Reverend Brontë to court her or propose marriage to Emily? Surely as part of the cleric, he would have considered such a thing, instead of fall into a secretive and sexual relationship with her. It just seemed so unnecessary for the pair to engage in a "forbidden" or secret romance. Come to think of it, whether the film had been an Emily Brontë biopic or simply a Victorian melodrama with fictional characters, the forbidden aspect of the two leads' romance struck me as simply unnecessary.

What else can I say about "EMILY"? A rich atmosphere filled the movie. The latter featured atmospheric and beautiful images of West Yorkshire, thanks to cinematographer Nanu Segal. It possessed a first-class production design, excellent costumes that reflected the movie's 1840s setting and superb performances from a cast led by the talented Emma Mackey. I could have fully admired this film if it were not for two aspects. One, I thought it was a shoddy take on a biopic for author Emily Brontë that featured one falsehood too many. And two, I found the secretive and "forbidden" nature of Brontë's false romance with the William Weightman character very unnecessary. Pity.

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marleneoftheopera · 1 year ago

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Holiday Audio/Video Gifts!

For the holiday season, here are some audio gifts from various shows and one Phantom video! The link to them is here and the info is below the cut:

Happy holidays and I hope you are all having time for some rest!

Audios

POTO

Jon Robyns, Paige Blankson, Joe Griffiths-Brown, Kelly Glyptis, Matt Harrop, Adam Linstead, Francesca Ellis, David Kristopher Brown, Maiya Hikasa August 22, 2023; London

Tim Howar, Harriet Jones, Nadim Naaman, Lara Martins, Nicholas Garrett, Arvid Larsen, John Ellis, Valerie Cutko, Kelsi Boyden March 19, 2023; Greece

Josh Piterman, Corinne Cowling (u/s), Danny Whitehead, Katy Hanna (u/s), Ross Dawes, Kris Manuel (u/s), Sophie Caton (u/s), Paul Ettore Tabone, Georgia Ware October 17, 2019; London Matinee.

Jeremy Stolle (u/s), Samantha Hill, Greg Mills (u/s), Michele McConnell, Richard Poole (u/s), Tim Jerome, Ellen Harvey, Christian Sebek, Kara Klein, Scott Mikita (u/s) March 9, 2013; Broadway Matinee performance.

John Owen-Jones, Deborah Dutcher, Matthew Cammelle, Bruce Montague, Charles Shirvell, Margaret Mary Kane (u/s), Janet Murphy, Jeremy Secomb, Lucy Middleton January 5, 2002; London

Love Never Dies

Tam Mutu, Celia Graham, David Thaxton, Daniel Dowling August 25, 2011; London Tam Mutu's last performance.

Les Miserables

Christopher Jacobsen (u/s Jean Valjean), Stewart Clarke (Javert), Katie Hall (Fantine), Will Callan (Marius), Lulu-Mae Pears (Cosette), Amena El-Kindy (Eponine), Luke Kempner (Thenardier), Claire Machin (Madame Thenardier), Dejan Van der Flyert (Enjolras), Alex Shaw (Gavroche), Clohe Sullivan (Little Cosette), Tom Hext (Grantaire/Majordomo), Adam Pearce (Bishop/Claquesous), Ellie Ann Lowe (Factory Girl), Jordan Simon Pollard (u/s Foreman/Bujon), Matt Dempsey (Bamatabopis/Lesgles), Annabelle Aquino, Hazel Baldwin, Emily Olive Boyd, Ben Culleton, Matt Hayden, Sam Kipling, Anouk Van Lake, Harry Lake, Ben Oatley, Jonathan Stevens, Phoebe Williams, Ollie Wray September 28, 2023; London 15,000th show in London and the 5th show for the new company.

Sunset Boulevard

Nicole Scherzinger (Norma), Tom Francis (Joe Gillis), David Thaxton (Max von Mayerling), Grace Hodgett Young (Betty Shaefer), Ahmed Hamaad (Artie), Tyler Davis (Sheldrake), Charlotte Jaconelli (Johanna), Jon Tsouras (Cecil B. de Mille) September 28, 2023; London

Rebecca

Laureen Jones (I), Richard Carson (Maxim de Winter), Kara Lane (Mrs Danvers), Sara Harlington (Beatrice), Neil Moor (Giles), Piers Bate (Frank Crewley), David Breeds (Ben), Alex James Ward (Jack Favell), Shrley Jameson (Mrs Van Hopper), Nicholas Lumley (Colonel Julian) September 27, 2023; Off-West End

POTO Video

Ian Jon Bourg, Olivia Safe (u/s), Kyle Gonyea 2001; Hamburg, Germany VOB files. One of the most legendary Phantom's opposite one of the youngest Christine's!

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