The film adaptation of Wuthering Heights, starring Jacob Elordi and Margot Robbie, premiered last Thursday in London amid relentless rain, echoing the stormy Yorkshire moors that form the story’s backdrop. The adaptation, directed by Emerald Fennell, reframes Emily Brontë’s well-known novel with a modern, darker twist, emphasizing passion and eroticism, but it departs significantly from the original’s themes and subtlety. The focus on Jacob Elordi Wuthering Heights highlights a contemporary portrayal of the tormented relationship between Heathcliff and Catherine Earnshaw.
Plot and Character Shifts in Fennell’s Version
Emerald Fennell transforms the classic narrative into a dark fairy tale with overt references to Snow White, Cinderella, and Little Red Riding Hood, infusing the story with explicit sexual content that markedly contrasts with Brontë’s original. Margot Robbie and Jacob Elordi play Catherine and Heathcliff, literary figures known for their intense and often destructive relationship, but this adaptation pushes the idea of consummated romance far beyond the novel’s boundaries. As children, they connect across class lines after Catherine’s father, Mr. Earnshaw, brings an impoverished child home. Grown Heathcliff returns with improved status, but Catherine has married wealthier neighbor Edgar Linton.
Notably, Robbie, at 35, is much older than the teenage Catherine depicted in the book, a detail that challenges the story’s dynamic. Despite this, Robbie and Elordi create a visually compelling couple, and their Australian heritage does not detract from their portrayals of two iconic figures in English literature, much like Tom Hardy’s casting in non-British roles.
Character Portrayals and Narrative Changes
Though the original characters are widely recognized as deeply flawed and often selfish, this adaptation renders them even more superficial and unlikeable, undermining the emotional engagement expected from such a tragic romance. Fans of the book, who have long been captivated by the obsessive and toxic relationship since the 19th century, may find Fennell’s simplifications and edits disheartening.
The director reduces or removes various subplots and supporting characters, altering or erasing layers of the original novel’s complexity. In particular, Mr. Earnshaw, played by Martin Clunes, is portrayed as a one-dimensional, harsh figure, lacking the nuance that might justify his actions. Similarly, Edgar Linton’s sister Isabella, played by Alison Oliver, serves mainly as comic relief, at least until her marriage to Heathcliff brings a disturbing shift in tone involving abusive scenes reminiscent of explicit pornographic content.
Sexual Content Overshadows Traditional Narrative
Fennell’s penchant for exploring disturbing and extreme sexual themes, previously seen in her thriller Saltburn (2023), manifests strongly in this adaptation. The film’s portrayal of secondary characters, such as the Earnshaws’ servant Joseph (portrayed by Ewan Mitchell), departs significantly from the book’s reserved depiction, turning into scenes laden with excessive and inappropriate sexual antics, which detract from the story’s original atmosphere.
These elements contribute to what can be described as an impressive but ultimately hollow visual production, prioritizing style and cinematography over emotional depth and narrative integrity.
Visual Style and Modern Additions
The film features bold costume and production design choices, some appearing to borrow heavily from Yorgos Lanthimos’s acclaimed period drama, The Favourite (2018), blending old and new aesthetics in a striking but sometimes jarring manner. The soundtrack includes contemporary, anachronistic music by Charli XCX, reinforcing the film’s modern sensibility despite its period setting.
Audience Reception and Emotional Impact
Despite the lavish production, the adaptation struggles to elicit genuine emotional response. Scenes saturated with incessant rain and Catherine’s frequent bouts of crying create an atmosphere heavy with melancholy but without meaningful connection. The dialogue between Cathy and her lifelong companion Nelly Dean highlights this emotional excess, as Cathy remarks,
“I think you like to see me cry,”
to which Nelly retorts,
“Not half as much as you like crying.”
This interaction, delivered by Hong Chau as Nelly, encapsulates the film’s tone, which some may find tiresome rather than moving.
By the film’s end, the audience’s response was reportedly muted, with no visible signs of sympathy or tears despite the intense emotional scenes, signaling a disconnect between the filmmakers’ vision and viewers’ engagement.
Legacy of Adaptations and What This Means for Wuthering Heights
Emerald Fennell’s approach follows a well-worn path of adapting beloved novels by altering core elements, as with the 1939 version of Wuthering Heights where producer Sam Goldwyn insisted on a happy ending featuring Merle Oberon and Laurence Olivier. However, compared to that film’s enduring success and emotional resonance, this new adaptation falls short, offering a visually attractive but ultimately superficial retelling.
This version’s prioritization of eroticism and style over the novel’s authentic emotional complexity raises questions about the future of literary adaptations in contemporary cinema. While it may attract some audiences eager for a bold, modern twist, purists and fans of Emily Brontë’s original work may find it lacking the soul and depth that make the story timeless.
Wuthering Heights opens in cinemas on Friday, inviting viewers to decide for themselves whether this bold reimagining captures the heart of one of literature’s most famous romances or merely its surface storm.
