A number of recent British heritage productions have attempted in their various ways to try to break away from some of the clichés of the genre, most notably the recent Lady Macbeth (2016). A lot of this has been in terms of casting (and certainly there’s a certain element of colour-blindness here), but the director also pushes the visual expectations of the genre with this adaptation of a well-loved and well-known novel.
Andrea Arnold certainly has an assured visual style. This film is shot in an Academy ratio (watch out that your TV doesn’t try to stretch it into widescreen) and frequently shoots through cracks and veils to further reduce the image size. When the camera does go outside there are some frankly beautiful shots, and some pretty taut editing too. It’s just that the script doesn’t always match this visual sense. There’s a lot of play with class and (newly for this adaptation) race, but most of it is enunciated at a formal level rather than in the dialogue, though that’s probably right for the period. There’s also an over-reliance on handheld camera; in many ways this feels like a period film for those who don’t tend to like them. Still, whatever else I might say, I do like it. The style is strong enough — and the performances too — to carry it.
Director Andrea Arnold; Writers Arnold and Olivia Hetreed (based on the novel by Emily Brontë); Cinematographer Robbie Ryan; Starring Kaya Scodelario, James Howson, Shannon Beer, Solomon Glave; Length 129 minutes.
Seen at home (Netflix streaming), London, Wednesday 3 August 2016.