Fifth about The Seventh

Emma. (2020)

Emma.: Autumn de Wilde’s adaptation of the classic novel is often less than half a step away from being a full farse, but that tone matches well with the story of the young woman who sees romantic matchmaking as a way of life. The title character is quite interesting: having all advantages of life made her meddlesome and prepotent, but she is generally well-meaning; it’s easy to root for her. Anya Taylor-Joy’s otherwordly beauty is a good fit, and she manages well to project the prim posture, petulance, and pride, as well as her vulnerability. Johnny Flynn is convincing as the polite and dashing gentleman who is her friend. Mia Goth is funny and touching as the comparatively homely ward. Bill Nighy is hilarious as her father. The film looks great: the English countryside is dream-like, captured in soft colors; cinematographer Christopher Blauvelt’s camera movements and framing are elegant. The stand-out has to be the detailed work of costume designer Alexandra Byrne: in a film where a person’s station is so relevant, the costumes provide crucial information of what that may be. Good use of music overall.


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