<b>Time Network LOS Angeles News</b> Jane Austen, known for the "troika" of "Pride and Prejudice", "Sense and Sensibility" and "Emma", has long passed the test of time. In the late 18s and early 19s, women writers—let alone all women—were robbed of too many opportunities by their male counterparts in patrilineal societies; most female writers' works were mistakenly discarded in the garbage can of history because they were not valued. Among them, however, Austen's novel unexpectedly stands out.
Austen's work, rooted in editorial commentary and unearthed in satire, transcends time and culture and remains relevant in the present, and many successful adaptations have emerged. At the same time, the contours and plots of her creations are also changing in modern and different environments, such as Amy Hecklin's "Alone", which borrows the story of "Emma" and arranges them into Beverly Hills in the mid-1990s, with gratifying results.
Johnny Flynn
However, the most recent edition of Emma, directed by Otem de Wielder<b>, is a period drama steeped in a fascinating modern spirit</b>.
Set in the lifeless English village of Highbury in the early 19th century, Emma focuses on the title's eponymous protagonist, Emma Woodhouse (Anya Taylor-Joy). She is a 21-year-old smart girl who lives comfortably with her father (Bill Nye). Emma likes to be nosy and matchmakers for others, and her recent project is her friend, the somewhat silly and nervous friend Harriet (Mia Gauss), who also proves the catastrophic nature of Emma's messy mandarin ducks.
Bill Nye
Although Harriet is proposed by a well-liked and suitable bachelor, Emma advises her to wait for elton (Josh O'Connor in The Crown), a seductive and somewhat eccentric priest. Conspiracies ensued, and contentious complex love erupted in Emma and her social circle.
Emma's charismatic and enthusiastic cousin, George Knightley (Johnny Flynn), is obviously a good object, but driven by impulse, Emma falls in love with the handsome outsider Frank Churchill (Callum Turner); at the same time, Frank also attracts Harriet's attention. And that's not counting Jane Fairfax (Amber Anderson), the daughter of a family friend who has been trying to make Jane and Emma good friends.
Callum Turner
The screenplay was adapted by Eleanor Catton and the female director Otem, and this "Emma" (in particular, the film has an extra period after the British title; since "period" and "era" can be referred to by period, so this is also a response to the nature of the film's "period drama") <b>is not completely adapted, but is very much in line with the original book. However, there are still some differences and fine-tuning</b>.
Screenwriter Eleanor, in his screenplay, <b>controversially applies a more progressive approach to class</b> (not really a problem, as if it were a little illegal gain, because emma's contempt for servants is used in the book to describe her deep-rooted immaturity), but she also comes up with some hilarious new ideas.
In both the novel and the film, Mr. Woodhouse is an extremely suspicious character; in Emma, his fear of the ghost of the house is also used as a joke, turning the little character into a neuro-comedy—asking him to instruct his servants to move the fire bar back and forth for the futile purpose of keeping the fire burning everywhere to the maximum.
Josh O'Connor
Director Otem also injected her own unique sense into the film, debuting as a cinematographer who excelled in portraits and produced album covers for the likes of Beck, Fiona Epeau and White Line, as well as music videos for bands such as Spon, Death Cab for Cutie and Rilo Kiley.
As a result, Otem has a humorous energy, which is especially evident when she sets up scenes, shoots wide-angle shots, moves the cameras, and displays the background. As expected, <b>the film's costumes are just as beautiful – but they've also been given more colours to make the film more contemporary</b>.
The biggest highlight of "Emma" is to see its narrative unfold and the joy of the actors starting to get on the right track, whether it is from a personal perspective or a group play. Anya Taylor-Joy starred in the psychological horror film The Witch, but her most internationally recognized works are M. Knight Shyamalan's Split and Mr. Glass. <b>She perfectly interprets the character of Emma</b>, whose comfortable and comfortable lifestyle allows her to slow down her maturation.
Mia Gauss, who had always felt that this sister's eyebrows were too shallow
Anya performed Emma's confusion and panic, while using techniques to make those emotions seem both humorous and not lacking in psychological depth. Johnny Flynn will play David Bowie in the upcoming Stardust, where he has contributed soulful performances that have successfully overcome several difficult monologues. At the same time, Mia Gauss and Bill Ney also have funny and eye-catching performances.
Whether you are familiar with the story of Emma or not, this version of Austen's story is very good. The film is not a radical adaptation, but rather a hint of pop, which complements its traditionalist setting of being faithful to the original –only the necessary parts of it to make it fresh, which <b>echoes the tastes of young audiences</b>.
Have you seen previous adaptations of Emma, such as "The One Who Leads the Way," or the 1996 version starring Gwyneth Paltrow? Which of the film adaptations based on Jane Austen's work is your favorite? Leave your thoughts in the comments section!
Anya at the Los Angeles premiere is simply the fairy herself who came out of the painting