Saturday, BBC3, 7:05pm
Autumn de Wilde’s Emma. (2020) is a confectionary delight, a film that wraps Jane Austen’s classic comedy of manners in sumptuous pastels and meticulous compositions. Anya Taylor-Joy’s titular Emma Woodhouse is both cunning and deeply flawed, her self-assured manipulations unraveling with a sharp wit that never veers into cruelty. De Wilde, known for her work in music photography, brings a keen visual precision to the film, making every frame a painterly tableau of Regency-era opulence. The film modernizes its 19th-century setting not through anachronism but through a sly, self-aware humor that makes its timeless social dynamics feel fresh and exhilarating.
Isobel Waller-Bridge’s score is a triumph of elegance, a classical composition that heightens the film’s effervescent spirit while hinting at its emotional undercurrents. The music flits between sprightly harpsichords and sweeping strings, echoing Emma’s own oscillation between self-assurance and vulnerability. A standout moment is the delicate yet poignant cue during the pivotal dance scene between Emma and Mr. Knightley (Johnny Flynn), where unspoken tensions unfurl in a few stolen glances, underscored by a gentle waltz. Flynn himself contributes an achingly beautiful rendition of "Queen Bee," his hushed vocals adding a raw intimacy that contrasts with the film’s otherwise polished aesthetic.
The soundtrack also embraces period-appropriate folk tunes, reinforcing the film’s immersive world-building. Traditional songs like “Hoe-Down” and “Drink to Me Only with Thine Eyes” lend authenticity, grounding the film in its historical setting while complementing Waller-Bridge’s more structured compositions. Much like Emma herself, the music is charming yet calculated, playful yet deeply affecting. It’s a rare example of a period film soundtrack that doesn’t just support the narrative but actively enhances its tone, making Emma. a true sensory feast—both visually and sonically.
- Daisy Rae