EMMA (Cinemas)
* * * 1/2
Why do we need a new Emma? You may ask the same of Hamlet. Emma is (controversial opinion here perhaps) Jane Austen’s most intriguing heroine, and it’s worth seeing what new generations of actresses may bring to the role (as it has proved worthwhile seeing a new ensemble take charge of a Little Women for the 21st Century).
This one – directed by feature debut director Autumn de Wilde – is heavy on a highly specific design choice, and will be known henceforth as “the pastel one”: every outfit, chair, curtain and wall is of a pastel shade, each contributing to the overwhelming – but very delightful – sense of the whole movie being constructed as a sweet slice of cake, which, when you think about it, is a perfectly fair approach and metaphor for how Austen’s stories can be enjoyed (which is not to say other directorial approaches cannot emphasise darker qualities).
But beyond the intensity of the clear style choice, it is Anya Taylor-Joy who justifies this new adaptation’s existence. She is sublime, reason enough to mount a new film, as, say, Jude Law was enough for there to be a new Hamlet on the West End in 2009. Her Emma is as devious, misguided and occasionally sheerly unlikeable as Austen’s is on the page, but her underlying likability enables Emma’s redemption to not only be consumable, but go down as sweetly as the cupcake wallpaper. Taylor-Joy, blessed with one of those deployable cinematic faces that is almost all eyes, is perfect for period pictures; the straighter she stands, the more corseted she is, the more she can gain from a glance, a look, a stare, and in this Emma, it is stolen glances that carry more weight than, at times, even the sparkling words. A delight.
HORSE GIRL (Netflix original movie)
* * *
Mental illness as the engine for a thriller is a cultural conceit whose days are numbered, but, as a last gasp, there’s no denying this entry is compelling and evocative. Alison Brie, who co-wrote the screenplay, is excellent as a young woman whose mental health begins to unravel toward the end of the first act. The second act is very strong, and Brie’s performance borders on sensational; overall, however, the film is rather shallow, entirely predictable on a story level but happily surprising on an execution one.
