Like many others, when I heard that an adaptation of “Wuthering Heights” starring Margot Robbie and Jacob Elordi was in the making, I was intrigued. It seemed unlikely that two of Hollywood’s biggest actors would star in a remake of Emily Brontë’s classic 19th-century novel. I went on to learn the film would be directed by Emerald Fennell, an often-criticized director of movies including “Saltburn” (2023), who is known for her intense and provocative style. “Wuthering Heights” (2026), one of the most controversial movies in recent years, was released in theaters on Feb. 13.
The Brontë sisters were English Victorian Era writers, cited as some of the first feminist authors who would change the course of literature by introducing historically taboo topics to their novels under a subtle feminist perspective. “Wuthering Heights,” written by Emily Brontë but originally published in 1847 under a male pseudonym, was controversial in the depiction of unconfined romantic passion, abuse and violence, and a woman who falls into insanity because of unhappiness within her marriage–an unprecedented idea at the time. There have been dozens of movie adaptations of this story over the last century, all with varying degrees of similarity to the original and popularity among the public. Fennell’s “Wuthering Heights” gained negative attention because of its alterations that were perceived as socially regressive, made to a novel that was so pioneering for its challenge of traditional societal expectations and confines.
The main controversy that sparked backlash from Fennell’s “Wuthering Heights” was casting Jacob Elordi, a white Australian actor, as Heathcliff. Upon initial introduction of Heathcliff in the novel, while his race is not specifically stated, he is cited in the book as being “a dark-skinned gypsy.” The now out-of-date and derogatory term typically describes Romani people, who are ethnically associated with India. Creating a person of color as the main character was an intentional decision by Brontë; Heathcliff is treated as inferior while being raised in a family of white English people and having a lower social standing because of the racial prejudice he faces. This supposed intrinsic inferiority is the reason Catherine, his love interest, marries another man, which catalyzes the drama taking place during the rest of the story. It took bravery on Brontë’s part to publish a book with a person of color as the main character during a prejudiced time, and she was one of the only English authors to do so during 19th-century Britain. To me, casting Elordi as Heathcliff felt like Fennell chose to gloss over or even erase that significance by casting a white man to play Heathcliff. While she did cast actors of color to play supporting roles of historically white characters, I don’t believe that this makes up for the erasure of representation and a central storyline that was taken away by her casting decision for Heathcliff.
The part of this movie that I think was the most well done was the visual aspects, which compellingly modernized the film while preserving the emotional message of the story. What really stood out to me was the costume design, especially that of Cathy (Margot Robbie). Her dresses alone told a story in themselves, which showed her character developement as well as her and Heathcliff’s shifting dynamics as the story progressed. She was most commonly dressed in a bright cherry red, making for an eye-catching contrast against the subdued clothing of the other characters in the film and the muted, dully colored landscape of the English moors. The set design heightened the emotion in the film, from the bleak moorland where they incorporated thick fog and pouring rain, to the suffocating, overly florid interior of Cathy’s house. I also thought the cinematography was flawless. Fennell contrasts bright, airy lighting with dark, candlelit scenes to exemplify the emotional shifts throughout the film. They incorporated use of different camera shots, from distant views of Heathcliff and Cathy riding across the moors, to vulnerable close-up shots of the actors’ expressions during emotional scenes, to the single-take tour of Cathy’s house. Altogether, these details added so much depth and interest to the story, showing Fennell’s eye for aesthetics and creating a visually interesting film.
Another positive detail in this movie was the soundtrack, created by popstar Charli XCX, known for her hit album “Brat.” Instead of using music that would fit into the classical Victorian era in which this movie is set, Charli created tracks that complemented the story using her signature electronic pop sound. Her album “Wuthering Heights,” made to be released in conjunction with the film, expertly added modern sound in a way that was cohesive with the haunting, moody feeling that is conveyed through the story.
While Fennell’s “Wuthering Heights” wasn’t entirely unforgivable, I would consider the negatives to outweigh the positives. I think the simple solution to the bulk of the problems and criticisms of this film would be to remove its association with Brontë’s novel. If it were a separate story, it would not have been judged in the context of the original, which is loved and defended as a classic piece of literature by so many fans. Without having to worry about being compared to the groundbreaking brilliance of Brontë’s novel, Fennell would have the creative freedom that she was searching for. She stayed within the broader confines of Brontë’s story, conveying the general storyline and evoking a similar haunting emotion through the depiction of an obsessive, destructive love story, but dismissed many crucial parts of the story, including the entire second half of the book.
Overall, I would say Fennell’s new “Wuthering Heights” is worth watching for its visuals and soundtrack while keeping in mind the lack of representation and importance of the legacy of Emily Brontë’s original novel.
“Wuthering Heights:” ★★☆☆☆
