🔴 Watch & Register Liam Daniel Johnny Flynn Autumn De Wilde Amber Anderson Josh Oconnor And Tanya Reynolds In Emma (2020)
Date: 2020-02-28 03:26:59
Viewed: 86 times - 1 day, 17 hour, 6 minute ago
It is impeccable: every film inspired by the works of Jane Austen has its intrinsic brilliance. It is the pen of the British writer to dictate the brush strokes that each film must bring, but it is even more in the dialogues that the brilliance of the immortal author shines with fervor never indifferent, never subdued, despite the quality or not of the cinematographic operation she is welcoming one of his manuscripts. Twenty-four years later, the last time that the heroine Emma of the Austen novel appeared on the big screen, the increasingly shining star Anya Taylor-Joy returns to play her with affectation and composure, a young promise that reconfirms her own no longer immature talent, juggling the romantic and smirfiosi intrigues of the story published in 1815.
Framed for the first time by Autumn de Wilde, who has explored every cosmos of the arts focusing fervently on the field of photography and with Emma to experience the cinema, Taylor-Joy does not lack the candor of the protagonists of the indisputable novelist, nor the impitious intelligence that has always distinguished them. Meeting, therefore, the favor of such a vital interpreter and his director's knowledge of taste, the film on the unpredictable and never so intuitive interlocking of love harmonizes on the characters of the two personalities, for a refined yet pungent work, in which presence and design intertwine with the ease of high society and the most appetizing gossip.
Chasing what she believes to be her primary social function, Emma Woodhouse (Anya Taylor-Joy) tries to combine the wedding between Miss Harriet Smith (Mia Goth) and Mr. Elton (Josh O'Connor), becoming a good friend of the unwary young woman and inserting it carefully in your circle of city knowledge. But it is the succession of new arrivals and great expectations that destabilize the peaceful ecosystem of the English community of the early nineteenth century, of which the family friend Mr. Knightley (Johnny Flynn) and the protégé directly from London Frank Churchill will be important glue Callum Turner).
Being a film of characters, it is they who de Wilde combines in a sequence of movements and directions that have the flavor of a dance choreography. The wavering calmness in the face of strong emotions was, however, a symbol of those environments that Jane Austen has reported throughout her career, establishing each time that "prejudice" that made her so famous and that reverberates in the graceful and stiffened surface of the society she was part of. The epidermis of this Autumn de Wilde Emma is also articulated and precise to the millimeter, while below, decorous and impeccable in the furnishings of Alice Sutton and Stella Fox and in the costumes of Alexandra Byrne, the emotional magma of her so sentimental simmers protagonists.
Although, therefore, the context of belonging is at least adequate to make the new film transposition of the novel intriguing, it is the slight lack of constant liveliness that determines only pleasure without transporting the film. A draw enjoyment from the lashes of a screenplay that grasps the written page with full hands, which returns the sparkling and, above all, pressing sense of the dialogues that make the joy of the ears for the lovers of Jane Austen, but which dilates, at times, the own times, forcing the film to adapt to more relaxed moments, waiting for others to arrive much more excited.
Despite, however, Emma's cautious progress, it is the authenticity that Austen's books always know how to transmit to be returned also in this new key. The sense of grace and decorum, of complete bearing that hides the warming of relationships in a cautious way. A film that does exactly what you ask for from an author's work, that is, that infinite, effervescent, witty state of beauty.
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