'Emma' turns Jane Austen's classic novel into a sharp hot take on contemporary mores — and it's brilliant, says Peter Travers. Our review
It helps that debuting feature filmmaker Autumn de Wilde, acclaimed as a rock photographer and director of music videos , is equally adept at springing surprises. She’s more than willing to knock the stuffing out of her costume drama: When no one is looking, Emma’s not above raising her petticoats and warming her butt by a fire, and even Mr. Knightley is caught in his birthday suit as servants clothe him. Miss Woodhouse and Mr.
Still, nothing feels the edge of Austen’s satirical knife like Emma’s own hypocrisy. She lashes out at Harriet when she aspires too far above her station. There’s a biting touch when Harriet’s fellow students gather in red capes like something out ofpawns in an eternal man’s game. Emma’s attraction to the devilish Frank Churchill is totally based on his wealth and his interest in her rival Jane Fairfax .
Like the novel, de Wilde’s film is nothing less than the education of Miss Emma Woodhouse, whose rebukes are carried out with the formality of an execution. Even the alleged happy ending can’t disguise the limited choices of the heroine and the women of her time. Taylor-Joy is not out to make us like Emma, but to understand her — a far more challenging proposition.
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