I’m on holiday in New Zealand this week. I’m not exactly sure what’s coming out in cinemas here (it’s not a priority right now) and I don’t want to be sad about what I’m missing out on in London (I think Portrait of a Lady on Fire is out, and if it is, go see it). However next weekend I am going to a wedding, so I am doing a themed week about relationship movies, not all of them about weddings or romances, but I’ll try to fit in a few. Luckily, just about half of all popular culture is about romantic entanglements, so there should be plenty of pick from. First up is this film, the sad yet comical story of a matchmaker.
One wonders sometimes at the need to remake certain films. Clueless (1995) is such an enduring classic that it feels odd to have this updated version, which for reasons best known to the makers they’ve relocated to England in the 19th century. However, I have to admit it’s been 25 years since that previous film, so perhaps the time is ripe, and there is a very picturesque quality to these locations (almost too pastel-coloured at times, though captured with gorgeous clarity by Kelly Reichardt’s regular cinematographer Christopher Blauvelt).
One of the sad losses due to the change of setting is in some of the diversity of the cast: there are no gay characters, and all the principals (in fact, all of everyone) remain very firmly white. However, I can’t pretend there isn’t some joy to be had in the dialogue and the characters, all the same. It’s reaching for a Love & Friendship vibe, and the actors are all very capable at finding the comic potential (not just the noted comedic actors like Miranda Hart and Bill Nighy, but Josh O’Connor as the insufferable Elton, and of course Anya Taylor-Joy as the almost alien-looking title character, whose self-regarding exceptionalism seems to exude from her throughout the film).
For all that the title emphasises a certain finality of execution with its full stop, I do still think the canonical version of this text has already been made. However, this is a pleasant divertissement with little digs at the absurdities of class distinctions, and at Emma’s haughty attitudes. Also, as with every Austen adaptation, the dance sequences are expertly choreographed.
Director Autumn de Wilde; Writer Eleanor Catton (based on the novel by Jane Austen); Cinematographer Christopher Blauvelt; Starring Anya Taylor-Joy, Johnny Flynn, Mia Goth, Bill Nighy, Josh O’Connor, Miranda Hart; Length 124 minutes.
Seen at Curzon Victoria, London, Monday 17 February 2019.