WUTHERING HEIGHTS: An Irresistibly Imperfect Torturous Romance

The love-hate romance film of the year is upon us in Emerald Fennell’s “Wuthering Heights”, a steamy adaptation of Emily Brontë’s 1847 novel. While there have been a fair share of film adaptations previously, this new incarnation approaches the material with optimal sexual tension, perhaps to its detriment. And with a tagline of “Come undone”, the reactions to this film will certainly have folks doing that in all sorts of ways.

Nestled among the rocks is Wuthering Heights, a somber farmhouse home to a young girl named Cathy. One day, her father brings home an impoverished boy whom Cathy names Heathcliff. Their friendship is instantaneous, and he becomes her protector of sorts, even from her alcoholic father.

That bond carries into their adult years, as Heathcliff (Jacob Elordi) works tirelessly on the farm and Cathy (Margot Robbie) sulks, wishing for a wealthy husband to find her. They couldn’t be more opposite, yet they each long for the other’s attention.

When the affluent Lockwood family moves into the neighboring Thrushcross Grange estate, Cathy believes this to be her moment to climb the social ladder. Torn between the comforts Mr. Lockwood could provide and her heart’s desire for Heathcliff, Cathy will be tormented by the choice she must face.

“Wuthering Heights” has had a bumpy road until now. The casting of Elordi as Heathcliff, a person of color, is a worthy criticism the film has faced. Mixed with the confusion of having the film’s name in quotations, followed by Fennell’s excuse that she wasn’t trying to make a proper adaptation, the film has felt the wrath of BookTok. As someone unfamiliar with the source material, I can’t comment on whether the film does it justice in any way. But I cannot dismiss the very valid critiques surrounding it.

However, judged as its own piece, perhaps just inspired by Brontë’s original work, I found it to be rich in its technical aspects, exceptional in its performances, though somewhat shallow in its narrative.

Draped in opulence, the highly stylized world they’ve crafted is a visual treat. By no means a shock to anyone who’s seen even a single still, the sets and costumes are breathtaking. For costumes, Jacqueline Durran has crafted something reminiscent of period garments, yet uniquely modern. The creativity and intricacy of each piece are a highlight of the film, as are its sets. Designed by Suzie Davies, every inch of Wuthering Heights and Thrushcross Grange is meticulously detailed. It feels theatrical and over-the-top, which really solidifies the aesthetic that this film is going for.

And with that, everything is so beautifully captured by cinematographer Linus Sandgren, who captivates you with every visual element. You simply can’t deny the artistry brought forth by those behind the camera.

But a torturous romance wrapped in lush sets and dazzling costumes is nothing without its lovelorn couple. And for that, we have Margot Robbie and Jacob Elordi. While their castings were met with debate, both deliver incredible performances respectfully, and their chemistry with one another is undeniable.

For Cathy, Robbie is able to capture the spoiled arrogance of the character, especially that seething jealousy she feels towards Heathcliff once they reunite. And for his part, Elordi is able to counter that with a deeper sense of obsession and longing. As a viewer, you feel their passion so palpably, even if their destructiveness towards one another is nothing to admire.

As Cathy once says, “whatever our souls are made of, his and mine are the same.” And I felt that fixation and yearning to be effectively captured by both actors. And like most good romances, the “will-they-won’t-they” of it all builds so beautifully throughout the whole film. Even if that duality struggled in the third act.

That’s what I found to be the film’s weakest point, its third act. Something about it feels a bit all over the place — even rushed. The film has a tongue-in-cheek humor to it, where it even felt a bit like it was satirizing the romance genre. By the third act, it doesn’t feel as though it’s balancing the tone quite right, as it begins shifting into more of an emotional side. While we get an amazing performance from Elordi, it felt a little jarring when looking at the film’s tone as a whole. I’m glad we got a dose of emotional weight added, I just wish it hadn’t come in so late.

I know “Wuthering Heights” will be polarizing. It’s been an uphill battle, met with a lot of noise. And again, there are plenty of things to rightfully criticize about this adaptation. The removal of racial themes is certainly the most important. But as its own piece of art, inspired by aspects of the source material, the film is a tantalizing experience.

While a true gothic retelling would have been right up my alley, I was enamored with the colorful and slightly macabre whimsy of the film’s anachronistic style. This is also supported by Charli XCX‘s music, which is an unruly compliment to the film as it’s woven between a beautiful score by Anthony Willis.

This version of  “Wuthering Heights”  is a film about two fixated souls fated to be apart, yet their obsession never wanes. Which, in the end, Fennell captures pretty well, even if some aspects could have been explored more deeply.