It’s funny and fresh (see: flashes of nudity Bill Nighy’s pitch-perfect comedy beats a sugary, meticulous aesthetic that lands somewhere between Wes Anderson tweeness and Sofia Coppola’s Marie Antoinette) - though Clueless it is not. The new Emma., starring a doe-eyed Anya Taylor-Joy opposite the scruffy, earthy Flynn as Knightley, hews closely to the original’s staid social norms, costume finery, decadent country estate settings and period-specific dialogue. Ahead of its time, it features a complex female character and centers women’s interior lives, turning the seemingly mundane (everyday romantic dalliances) into the monumental (the struggle to survive during a time with limited options). Emma - like all of the author’s best-known books - is a comedy about love, a Shakespearean maze of relationships and miscommunications that, in the end, get tied up neatly with velvet ribbons.
At least, that’s how director Autumn de Wilde and screenwriter Eleanor Catton approached the challenge in their colorful, witty take on Austen’s novel.
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