A scene from 'Wuthering Heights'

Wuthering Heights review: Gloomy classic gets a sexy makeover

‘Wuthering Heights’ is a distinctly sensual interpretation of the novel that excavates a love story from all its cruelty.

Adaptations of classic novels range from faithful to transformative. In some cases, it’s a matter of lifting the narrative from one medium to another while keeping it intact. At other times, creators take the opportunity to metamorphosize the story, modernizing the characters and settings or changing the genre. Both approaches have merit and equal potential for success or failure. After decades or even centuries of variations, a fresh take can be exactly what a dusty classic requires. Wuthering Heights will surprise (and hopefully delight) fans of the book.

The Earnshaws struggle to make ends meet as Catherine’s father (Martin Clunes) mismanages the family’s purse with self-indulgence. So, the household is understandably upset when he brings home another mouth to feed after a night at the pub. Young Catherine (Charlotte Mellington), however, immediately adopts Heathcliff (Owen Cooper) as her greatest companion, casting aside Nelly (Vy Nguyen), her lady mentor. As they grow into attractive young adults, Catherine (Margot Robbie) and Heathcliff’s (Jacob Elordi) friendship inevitably evolves into more. However, when the wealthy Lintons, Edgar (Shazad Latif) and Isabella (Alison Oliver), move into a nearby house, she sees the opportunity for a life of luxury. Now, Catherine must choose between love or comfort, forever changing all their lives.

The first act adoringly portrays Catherine and Heathcliff’s childhood courtship. At such a young age, their love for each other is pure and pledged for eternity. Heathcliff shields Catherine from physical harm and cruelty, though her father has a way of ensuring the household suffers anyway. Of course, this is one of many departures from the book, which depicts Catherine’s father as a kind-hearted man. But he must absorb the deplorable traits of his eldest son, who’s depravity is the source of some of the young couple’s malice.

This adaptation takes several liberties with the narrative. The film only covers the first half of Emily Brontë’s novel. By excluding certain characters, it focuses more narrowly on Catherine and Heathcliff’s relationship. Centering the story on the reluctant couple allows them to explore their love story without the undue interference of others. Writer-director Emerald Fennell enthusiastically brings forth all the novel’s sexual subtext. She gives gothic romantics the toxic love affair that was always lurking in the shadows of obsession and betrayal.

The only emotion as strong as love is hate and the pair express both fervently for each other and those around them. Before the Lintons’ arrival, Catherine cruelly teases Heathcliff to hide her true feelings for him, while he secretly professes his love by bending to her whims and returning her prickly barbs. Yet, both characters are unapologetically callous to everyone, including each other, spitting hateful vitriol at anyone close to them. In the end, it’s what makes them so perfect for each other.

Fennel presents the erotic period drama Brontë couldn’t write in 1847. After all, the English moors were always the perfect cover for secret, illicit meetings. The sexual tension between Catherine and Heathcliff puts the theatre on edge thanks to the chemistry between Robbie and Elordi, which radiates from the screen. The lead up to their first tryst is exquisite due to their intense passion and electric connection. Elordi still has his chiseled Frankenstein physique, which turns up the heat in his shirtless scenes. His towering stature also eclipses his female co-stars, creating greater contrast when he reaches out for a gentle touch.

Early promos for the film dubbed it “The greatest love story ever told,” which seems like a misnomer for anyone who’s read the book. But this adaptation of the novel pulls it off with excellent casting and a unique interpretation that dilutes their overall ruthlessness. It doesn’t entirely dismiss that Catherine and Heathcliff are vindictive individuals, but instead uses it to bring them closer together. The ease with which Fennell works with her repeat collaborators is also evident throughout the picture as she extracts the nuances of their layered performances.

Unfortunately, anyone who’s first exposure to the story is this film will be awfully disappointed should they choose to read Brontë’s novel afterward.

Director: Emerald Fennell
Starring: Margot Robbie, Jacob Elordi and Hong Chau

Similar Posts

  • Review: ‘Black Panther’ excels by not compromising (Includes first-hand account)

    Even though Marvel Studios launched the Marvel Cinematic Universe with its better-known properties, they haven’t been afraid to take a chance on less mainstream characters. One of the reasons is each franchise is approached in a manner that best suits its unique personality. Of course, there are numerous similarities that can be seen across any number of stories, but it’s the elements that make them different that appeal to audiences (and make the many team-ups more attractive). All superheroes battle villains, but it’s how they do it that creates fans. Black Panther is the latest protector to get his own theatrical release and they didn’t cut any corners.

  • Review: ‘First Man’ puts audiences in the front seat for the moon landing (Includes first-hand account)

    To make history is to be forever immortalized and even though there are sometimes countless people who contribute to the ground-breaking feat, only one or two names are often remembered. Most things are accomplished on the successes and sacrifices of others, but the only story that seems to matter is that of the victorious. Yet, even then, the final act may be recounted in detail while everything that led to it remains in darkness. First Man chronicles Neil Armstrong‘s revolutionary moon mission, but it begins its tale well before the launch.

  • Review: ‘Ad Astra’ doesn’t have the right stuff (Includes first-hand account)

    We have only explored a fraction of the universe and have yet to even come close to inventing the technology postulated in many science fiction movies. Thus, the genre has the freedom to make its own path and go anywhere the filmmakers’ imaginations take them. In recent years, some have opted to keep it simple by focusing on a lone character in space, while others have revisited monumental events in history. Still others choose to look towards an even more distant future in which advancements in space travel have made the impossible possible. This is the world in which Ad Astra unfolds.

  • Review: Hot Docs’ ‘Show me the Funny’ showcases stand-up & sketch comedy (Includes first-hand account)

    Almost everyone loves to laugh. Studies even show there are health benefits to a regular chuckle. There are entire television networks dedicated to broadcasting humorous content. It’s a mystery why some people are professional-grade funny and others are less so; it’s often a practiced craft, but for some it just comes naturally. The Hot Docs Canadian International Documentary Festival serves audience’s appetites for comedy with the program, “Show me the Funny.” Amongst this year’s selections is a film about three men who persevere in a struggling industry and another is a behind-the-scenes look at one of the world’s most famous comedy troupes.