Emma (2020), directed by Autumn de Wilde

Yet another ‘did we really need another remake?’ film, Emma is visually stunning. The costumes, architecture, décor and scenery are sumptuous and the camera lingers lovingly over them all. The adaptation is faithful to the Jane Austen novel, set in Regency England where young women must marry to secure their futures. The casting of the leads is slightly off. Anya Taylor-Joy does a nice job of meddling matchmaker Emma, but the camera’s intense focus on her very wide-set eyes is distracting. Johnny Flynn is as adorable as ever in his portrayal of the exasperated Knightly, giving him a softer edge than is often seen. A nude scene early in the piece is a treat, but his hair is all over the place in a manner completely out of sync with the period. The supporting casting is more successful - Bill Nighy, Miranda Hart, Rupert Graves and Gemma Whelan all suit their roles and Mia Goth is very good as Emma’s protégé Harriet. The overall tone is light and frothy, but there are some strange, dark notes. Several scenes of a gaggle of schoolgirls marching along dressed in red capes is reminiscent of the Handmaid’s Tale, creating a jarring note that seems unnecessary. Austen’s tale is a love story with an edge, lightly poking fun at English society’s obsession with class along the way. The film strikes all the right notes, but somehow the whole is slightly less than the sum of its parts.