Emerald Fennell’s latest cinematic offering, a bold reimagining of Emily Brontë’s Wuthering Heights, has ignited fervent discussion among critics and audiences alike. Known for her distinctive, discourse-driving films like Promising Young Woman and Saltburn, Fennell approaches this beloved gothic classic with her signature “rude, moody, and broody” aesthetic. This review synthesizes insights from NPR’s Pop Culture Happy Hour (PCHH) panel, offering a comprehensive look at what makes this adaptation so divisive and undeniably unique. Prepare for a deep dive into Fennell’s stylistic choices, the performances of Margot Robbie and Jacob Elordi, and the critical reception of this “bonkers” take on a timeless tale.
Emerald Fennell’s Distinctive Vision for Wuthering Heights
Writer-director Emerald Fennell has firmly established herself as an auteur, crafting films that challenge conventions and provoke strong reactions. Her Wuthering Heights is no exception, presented with intentional quotation marks around its title, signaling a self-aware departure from traditional adaptations. The PCHH panel, featuring Glen Weldon, Linda Holmes, Barrie Hardymon, and Soraya Nadia McDonald, highlighted Fennell’s penchant for creating “vibe cinema” – an immersive, visceral experience designed to evoke feeling over pure intellectual analysis.
This adaptation stars Margot Robbie as Cathy, depicted as headstrong, impulsive, and unabashedly horny. Opposite her, Jacob Elordi embodies Heathcliff, dark, brooding, and equally driven by raw desire. Their passionate, doomed love story unfolds on the wild, windswept moors, drenched in a feverish intensity. Fennell’s approach, as discussed by the PCHH team, focuses on the “lush fever dream” quality of the novel, aiming to transport viewers into the passionate emotional landscape she experienced reading it as a teenager.
A Stylist’s Masterclass: Aesthetics Over Ideology?
A central point of discussion among the PCHH critics revolved around Fennell’s directorial priorities. Linda Holmes suggested that Fennell is primarily a stylist, akin to Quentin Tarantino, where the “stylishness kind of pushing everything else.” Her films, including Wuthering Heights, showcase a love for extravagance: the prominent use of the color red, diaphanous materials, and deliberately anachronistic costume choices, such as Cathy’s silver satin gown that resembles tinfoil.
Soraya Nadia McDonald further emphasized Fennell’s fascination with “dirt and filth and grossness,” a willingness to confront taboos and portray the “strange human beings” we often are. While some critics appreciate this bold aesthetic, Barrie Hardymon found it problematic. She felt the film leaned too heavily on striking imagery without adequately developing character depth, leading to a “series of images connected by some speeches… and very little else.”
The Visceral and the Provocative: Body Horror in Gothic Romance
Fennell’s Wuthering Heights aims squarely for a gut reaction, often described as “fervid, feverish, febrile, and feral.” The film frequently connects sex and death, opening with a public hanging that elicits sexual ecstasy. The PCHH panel noted its intent to provoke the body’s responses – lust, desire, and revulsion – rather than purely intellectual engagement.
While less overtly explicit than Saltburn, the film still employs tactile and sometimes unsettling imagery. Linda Holmes pointed to Cathy sticking her finger into squishy aspic and the recurring motif of characters plunging their hands into raw eggs. These moments, the panel concluded, are about creating a “body horror” experience, triggering either a “yuck response or your lust response.” The constant depiction of Elordi’s Heathcliff perpetually drenched in rain even prompted the humorous suggestion of “pneumonia core” as a fitting genre descriptor.
Navigating Adaptational Shifts: New Takes on Classic Characters
Fennell’s adaptation makes several significant departures from Brontë’s novel, prompting varied reactions from the PCHH panel. One notable change involves the character of Isabella, Heathcliff’s unfortunate wife. Here, Isabella is depicted with more agency, portrayed by Alison Oliver, and her relationship with Heathcliff includes elements of consensual control, shifting the dynamic from the book’s stark abuse. While Glen Weldon appreciated this modern reinterpretation, Barrie Hardymon felt it “backed away from the point” that Heathcliff is a truly “friggin’ terrible” and horrifying stalker, blunting the narrative’s edge.
Another key alteration involves combining Catherine’s brother, Hindley, with her father, which consequently “blunted” Heathcliff’s revenge storyline. The panel also discussed the expanded role of Nelly, Cathy’s maid, played by Hong Chau. Her heightened presence, particularly in a pivotal eavesdropping scene, was seen as a meaningful change that “alters Cathy’s ultimate fate” and makes more sense within the film’s narrative.
Heathcliff and Cathy: Trauma Bond or Timeless Love?
The central relationship between Cathy and Heathcliff remains the heart of Wuthering Heights, but Fennell’s portrayal sparks debate. Soraya Nadia McDonald questioned if their bond was truly love or merely a “trauma bond,” a sentiment echoed by Barrie Hardymon. The film emphasizes the raw, primal aspects of their connection, yet some panelists felt it struggled to convey Heathcliff’s complex humanity and motivations, which are crucial to the book’s enduring appeal.
The casting of Jacob Elordi as Heathcliff was a deliberate choice by Fennell, aiming to capture the essence of the character as she first encountered him in her teenage reading. However, this decision also bypassed opportunities for a more diverse interpretation, as the novel’s Heathcliff has often been speculated to be of ambiguous race or ethnicity, adding another layer to his “othered” status and motivations. The PCHH discussion highlighted the missed opportunity to explore these class and identity boundaries more deeply. Margot Robbie’s Cathy, too, was seen through the lens of women “confined and sort of squeezed into the sort of mean girl role,” linking her character’s cruelty to societal restrictions.
Frequently Asked Questions
What is Emerald Fennell’s new “Wuthering Heights” adaptation about?
Emerald Fennell’s adaptation of Emily Brontë’s classic gothic novel, Wuthering Heights, is a highly stylized and provocative retelling of the passionate, doomed love story between Cathy (Margot Robbie) and Heathcliff (Jacob Elordi). Directed by Fennell, known for Promising Young Woman and Saltburn, the film emphasizes visceral emotions, lavish aesthetics, and taboo themes, often prioritizing a “vibe cinema” experience over traditional narrative or intellectual commentary. It explores themes of lust, hatred, and revenge against the backdrop of the wild moors, making significant departures from the original text in its character portrayals and plot developments.
Should I watch Emerald Fennell’s “Wuthering Heights” if I’m a fan of the classic novel?
Watching Emerald Fennell’s Wuthering Heights as a fan of the classic novel depends on your openness to radical reinterpretation. The film is celebrated for its bold stylistic choices, intense emotional portrayal, and provocative imagery, but it diverges significantly from Brontë’s original narrative and character development. Critics noted its focus on “body horror” and aesthetic extravagance over intellectual depth or the nuanced humanity of its characters, particularly Heathcliff. If you appreciate a director’s unique vision and a visceral cinematic experience, even if it means departing from source material, you might enjoy it. However, if you prefer faithful adaptations, its “bonkers” and “overclocked” nature might be disappointing.
How did critics on Pop Culture Happy Hour react to “Wuthering Heights”?
The Pop Culture Happy Hour panel had a mixed, but largely appreciative, reaction to Emerald Fennell’s Wuthering Heights. Linda Holmes and Soraya Nadia McDonald generally enjoyed and appreciated the film’s extravagance, stylistic boldness, and willingness to provoke gut reactions, likening Fennell to a “stylist” more than a “social commentator.” They praised its “vibe cinema” qualities. However, Barrie Hardymon found it less successful, feeling it was a series of striking images without sufficient character depth or emotional resonance, lamenting a missed opportunity for deeper ideas and a more complex portrayal of Heathcliff’s humanity. Glen Weldon appreciated the film’s big choices and “feverish” atmosphere, even wishing for it to be “a notch more bonkers” or “camp.”
A Polarizing Gothic Romance for a New Generation
Emerald Fennell’s Wuthering Heights is a film that clearly divides opinion, even among seasoned pop culture critics. While some found its bold aesthetic and visceral storytelling compelling, others felt it sacrificed narrative depth and character development for visual flair. The PCHH discussion highlights its undeniable impact as a piece of “vibe cinema,” a film designed to make you feel, even if those feelings are sometimes uncomfortable or unsettling.
This adaptation stands as a testament to Fennell’s unique directorial voice, unafraid to tackle sacred texts with a provocative, maximalist approach. Whether it fully succeeds in capturing the enduring power of Brontë’s novel is a matter of personal taste, but it certainly offers a fresh, albeit polarizing, perspective. If you are intrigued by daring interpretations and a visually arresting gothic romance, Emerald Fennell’s ‘Wuthering Heights’ demands to be seen and debated.
