‘Wuthering Heights’ is a bold, filthy fantasy — but these moors need more erotic heat

by

Emerald Fennell’s take on “Wuthering Heights” is full of striking, and sometimes bizarre, imagery – think raw eggs, rain, dog and horse gear, paper mushrooms, and fish covered in jelly. This visually emphasizes the story’s over-the-top depiction of desire, which feels a bit forced given that Emily Brontë, the original author, led a sheltered life and wrote with little direct knowledge of intimacy. Brontë, who died young and published under a male pen name, hinted at passion in her intense exploration of obsessive love, but the new adaptation pushes things further – to the point where even the way characters speak feels exaggerated (apparently, dialogue isn’t just said, it’s ejaculated).

Emerald Fennell, known for films like “Promising Young Woman” and “Saltburn,” directly includes explicit scenes in her adaptation of “Wuthering Heights.” The story centers on the passionate and unconventional relationship between Catherine (Margot Robbie) and Heathcliff (Jacob Elordi), who have a long-standing attraction, alongside the more socially acceptable pairing of their neighbors, Edgar (Shazad Latif) and Isabella (Alison Oliver). The film also features a separate, intimate encounter between two servants.

This isn’t a faithful adaptation of “Wuthering Heights,” but rather a playful take on it, as suggested by the quotation marks on the promotional material. The filmmaker has significantly streamlined the story and characters, removing many of the complex family relationships found in the original novel. This makes the plot easier to follow and more believable, especially in this isolated setting where romantic tension is heightened – it’s really all anyone has to focus on.

The story introduces young Catherine and Heathcliff, portrayed by Charlotte Mellington and Owen Cooper (recently winning an Emmy and Golden Globe for his work in “Adolescence”), as children living in fear of Catherine’s father, Mr. Earnshaw. Played by Martin Clunes, Mr. Earnshaw is a troubled, alcoholic man who has squandered his family’s wealth and reputation. Clunes delivers a harsh and unsettling performance as the abusive father, portraying him as cruel and bitter.

The film starts incredibly strong, immediately establishing a gritty world where intense emotions and brutality collide. Even the opening titles feel unsettling, almost vibrating with a mix of fear and pleasure. This uneasy feeling perfectly sets the stage for a frustratingly complex love story – one that challenges the typical idea that love conquers all, or even that love is a positive force.

Fennell’s film starts with a black screen and unsettling sounds of creaking and groaning. Knowing her previous work, which often explores dark and twisted themes, I expected a disturbing joke. However, I was genuinely shocked by what I saw: not simply a hanging body, but a meticulously staged scene where the figure suffocates while trapped in fabric, ultimately resembling an inflatable doll.

The film opens with a bizarre, nightmarish scene – imagine scantily clad women near a gallows, creating a chaotic and unsettling atmosphere. This disturbing sequence is meant to show an early, impactful experience for the young Cathy and Heathcliff, who will later find themselves together in a bleak and isolated home. Just as moths in nearby Manchester adapted to the pollution of the Industrial Revolution by changing color, Cathy and Heathcliff are deeply shaped by their harsh and grim surroundings.

Movies

We spoke with Jacob Elordi, Margot Robbie, and a daring British director about a new take on Emily Brontë’s classic story.

Okay, so here’s what’s really throwing me about the new “Wuthering Heights”: the jump to Robbie and Elordi as adults is weird. They’re both well into their thirties, but they’re still running around like kids! It doesn’t feel like a simmering, will-they-won’t-they romance, honestly. It feels like they haven’t even figured out what romance is yet, you know?

Honestly, after watching the movie, I don’t think they really understood love at all. There’s this scene with Catherine and Heathcliff finding two of their servants being affectionate, and they react like it’s the most shocking thing they’ve ever seen – almost like they’ve never considered the idea of people being intimate before. It’s like discovering something completely new, similar to that moment with the monolith in “2001: A Space Odyssey.” They’re just…naive about it, I guess.

Their childish behavior is now causing real problems. Cathy quickly gets engaged to Latif’s gentle Edgar, preventing her from exploring things with her usual partner. In response, Heathcliff seeks the attention of Oliver’s sister, Isabella. Meanwhile, Catherine’s long-suffering caretaker, Nelly, gets involved in everyone’s conflicts out of spite – a lesson from “Saltburn” is clear: don’t upset those who serve you.

Although Heathcliff and Catherine are supposed to have intense chemistry, it comes across as surprisingly bland. The relationship between Heathcliff and Isabella is much more disturbing and captivating. The actress playing Oliver bravely and accurately portrays her character’s tragic downfall, as Brontë originally wrote, even when it’s unflattering. Ultimately, it feels like the director really succeeded in finding genuine eroticism within the story.

I’m really captivated by Jacob Elordi in this movie! He just owns every scene, moving so comfortably through those gorgeous, fiery Atlanta landscapes and the wild, rocky plains. He’s got this classic leading man vibe, perfect for those big, historical roles – you know, the kind of characters who feel almost too incredible to be true. Like, he totally nailed the quiet guy who becomes a rock star in ‘Priscilla’, and was amazing as the assembled creature in ‘Frankenstein’. And now, he’s playing this street kid who somehow becomes a super successful businessman, and it’s just fascinating to watch!

It’s tough to play Robbie, but honestly, Catherine is a really difficult character. There are plenty of brooding, wealthy men in stories, so that part isn’t unique. The story is told years after everything happens, through the eyes of a somewhat bitter housekeeper named Nelly, who’s recounting events to a stranger. Because Nelly doesn’t like them, the young Catherine in the book seems dramatic and larger than life. However, when you look closely, she comes across as a spoiled and superficial girl – someone you might find on a reality TV show. We could enjoy her flaws more if the actress wasn’t pushing her to act overly dramatic.

Books

I’ve been completely swept up in the buzz around the new “Wuthering Heights” movie – it’s selling out everywhere! It got me thinking about the book itself, and I just read a fascinating discussion with six authors about why Emily Brontë’s story still resonates so strongly. They talked about how it’s always been a bit scandalous, even ‘toxic’ at times, but also brilliantly challenges expectations and continues to feel incredibly powerful.

The problem with casting a famous star like Robbie – who is undeniably a major talent – instead of a younger, more suitable actor is that it just doesn’t feel believable. I attempted to make her awkward performance fit the film’s over-the-top style – with its unrealistic details like giant strawberries, strange costumes, and a bizarre mansion – but it didn’t work. The whole effect felt forced and unnatural.

The show’s impressive set and costumes, designed by Suzie Davies and Jacqueline Durran, lean into excess without quite hitting elegance. These characters aren’t known for being practical; despite constant downpours, nobody ever thinks to bring an umbrella.

Fennell portrays Catherine as a character similar to Scarlett O’Hara from “Gone With the Wind,” though Brontë didn’t offer her heroine as much agency. Like Scarlett, Catherine is limited by the expectations of her society and her surroundings. However, unlike Scarlett, who actively pursues love and her family’s land through questionable means, Catherine doesn’t seem to care about those things and doesn’t actively scheme to regain them. While Scarlett fights for what she wants, Catherine is more passive.

Catherine isn’t a very compelling character, honestly. The funniest line for me was when she tells Nelly that Nelly seems to enjoy her sadness, and Nelly quickly retorts, “Not as much as you enjoy crying.”

Fennell still excels at revealing the ugliness that comes with wealth and influence. One particularly striking scene involves Robbie callously throwing coins at a beggar, only to be forced to watch him collect them – it’s deeply unsettling and brilliantly done. The film’s score, a collaboration between composer Anthony Willis and Charlie XCX, perfectly complements the dark tone, blending raw strings with eerie, foreboding sounds.

While “Wuthering Heights” might be a bit misleading, I appreciate that Emerald Fennell aims to provoke and entertain. If people go see her films, it could encourage Hollywood to move beyond the current obsession with superhero movies and create more stories about complex, flawed characters. I’m not focused on box office numbers; I’m interested in what makes a movie truly impactful. Ultimately, I hope Fennell and other filmmakers with a similar bold vision continue to challenge and revitalize mainstream cinema.

Read More

2026-02-11 20:32