Emma. (2020) Review

rating: *****

the story: A young society lady is master of everything except her own heart.

review: Happily, Anya Taylor-Joy is experiencing one of those rare conflagrations. She’s someone I’ve grown to enjoy watching who also happens to be having a moment of critical popularity. Emma. is one of several recent projects she’s appeared in to help her reach that status, and I can say that I am utterly enchanted with it.

Of course, it’s based on the oft-adapted book by Jane Austen, though in the hands of first-time director and herself a remarkable discovery, Autumn de Wilde, it’s beyond fresh. It’s like elevating Austen to the realm of Shakespeare while simultaneously freeing the material in the most lively ways possible.

The story itself is as relevant as ever, full of piercing social insight, and in this presentation (a period drama in the vein of The Favourite) as likely to be enjoyed as appreciated.

The casting is impeccable. Taylor-Joy, of course, unleashed to her full potential, surrounded by equally inspired actors, including the perennial standout Bill Nighy as well as breakthrough performances from Callum Turner and Johnny Flynn. Turner particularly intrigues me here; in the Fantastic Beasts films he’s struck me as the least fantastic element, but he now strikes me as a revelation of physical presence alone, a Stan Laurel smile pressing itself against the starched collars out of the many lush costumes on display.

The score alone deserves recognition! I always love when a film is truly complete like that, in direction, staging, acting, and music. That’s how to reach the brass ring with me. 

It’s the kind of film you can happily share with those who think the classics are stuffy, or even if you don’t want to fuss over Emma.’s origins at all. It stands on its own. A classic crafted from a classic.