Was it disappointing because it prioritized aesthetics over emotional depth? Because it misunderstood the source material? Because it tried too hard to be edgy?
I had high expectations for “Wuthering Heights,” considering I loved Emerald Fennell’s “Promising Young Woman” and “Saltburn.” Fennell directs, produces and writes each of her films, which I have to admire. From the beginning, I didn’t know if “Wuthering Heights” was going to be a good movie based on casting and pictures I had seen of the film. Not only that, I found it was strange that Fennell was attempting to fulfill her 14 year old vision of “Wuthering Heights.”
While I haven’t read Wuthering Heights, I know Heathcliff’s identity as an outsider is central to the story. His racial identity in the novel adds to his isolation and fuels the cruelty he experiences. Casting Jacob Elordi, a white Australian actor, removes that layer entirely. Without that tension, Heathcliff’s anger feels less rooted in social rejection and more in an unexplained irritability. Fennell’s casting choice flattens a character who is supposed to feel wounded and deeply complicated.
There was more I didn’t like. The costumes weren’t accurate to the time and distracted me from what was going on in the film. You see gowns made out of neon and metallic fabrics that made it feel stylized to the point of artificial. These costume choices didn’t add to the film, but rather distracted you from the limited plot. I felt they pulled attention away from the characters’ emotions.
The benefit of casting Elordi and Margot Robbie in this film is they are very talented actors. Both are Academy Award nominated actors and have some range. It was entertaining to watch their chemistry on screen. The way their characters interacted was intense, passionate and evolved throughout the film.
A highlight from the film was the score. Charli XCX is a force and a great choice for this movie. Fennel clearly wanted this film to be alternative and tried a little too hard, but having club-like music for the soundtrack elevated the movie to me instead of having typical orchestral music everywhere. I felt it was the right kind of alternative feel for the film.
“Wuthering Heights” was filmed in the United Kingdom, and it was nothing but dreamy. While the movie lacked plot occasionally, it was aesthetically pleasing. The houses in the film were bold and beautiful. I loved Catherine’s skin room, the “Wuthering Heights” estate and the moors that Eloridi and Robbie would frolic on; it was a nice touch.
Fennell clearly has a distinct artistic vision for this film, and I admire her commitment to it. But in this case, style took priority over substance. The film is undeniably beautiful and has a great score, yet it left me wanting something more accurate to the book and less focused on aesthetics. Being alternative isn’t always enough — the story itself has to have a pulse underneath it.
