Is it safe to say not much has changed?
Heathcliff (as the younger version Solomon Glave, and James Howson as the older one) is brought in off the streets from a nice Christian man, who believes that it is his god-given duty to ensure that those who are off far worse than him, should get the same love and respect as he gets. Some in his family don’t see it the same way, with the exception of Catherine (as the younger version Shannon Beer, and Kaya Scodelario as the older one), who instantly takes a liking to Heathcliff. While Heathcliff is supposed to be working on their farm, most of the time, he spends gallivanting through the fields with Catherine, falling more and more in love with her as the days go by. Of course, she may feel the same way, too, but because he’s black and doesn’t come from a very wealthy family, she begins to have second-thoughts about what those around her may start to think. Pissed-off at her, and especially the harsh treatment he suffers from her older brother, Heathcliff runs off into the middle of the night, presumably never to be heard from again. However, many years later, Heathcliff returns, only to find Catherine married to a much wealthier guy.
He’s looking for her.
It’s interesting that, for perhaps the 15th time or so, Wuthering Heights has been adapted and believe it or not, the story still rings true. Granted, maybe one or two adaptations is fine enough, but honestly, it doesn’t matter because the source material, no matter how old or stuffy it may be, still somehow resonates. Issues with class, race, and even sex, still stick around in today’s day and age and while Wuthering Heights may take an awful lot of staring and paying attention to grab a hold of these modern-day themes, it’s still a piece of material that works.
And in Andrea Arnold’s hands, it is, surprisingly, the best it may ever be.
Arnold may seem like an odd choice as adapting this source material, but it becomes very clear that, right from the grainy and gritty look of the movie, that she’s going to get along with it just fine. After all, it seems like the setting for Wuthering Heights, fits Arnold’s darker sensibilities the most, in terms of setting especially; she can make any sight beautiful, even when, in a film like this, where there’s hardly a sign of any sort of sunlight to be found. And while it’s definitely a bit distracting at first, the tight aspect-ratio works for the movie, having us focus in on these character’s, their emotions, and most of all, yes, “the action”.
While it’s hard to really say anything that happens here is, in the very least, “action-y”, if you love period-pieces that are ripe and filled to the brim with emotion, than this take on Wuthering Heights has plenty of it. Sure, some may see it suffocating that Arnold has us straight up in these character’s faces a good portion of the time, but it all works because it allows for us to feel the raw, dirty and downright nonglamorous love and emotions that they all feel at one point or another. Arnold’s style may definitely be manipulative, but it’s manipulative in the sense that it allows for you to see a story done so many times before, done a tad bit differently and judging how the results end up being.
She’s looking for him.
And with her cast, Arnold really seems to have it all worked out.
Shannon Beer and Solomon Grave are lovely and imaginative as the younger versions of Catherine and Heathcliff, respectively, but it isn’t till their older and more mature where the performances really start to click. As Catherine and Heathcliff, the older years, Kaya Scodelario and James Howson are quite magnificent because they say so much, with so little. The burning, fiery intensity between them two is felt from the very start and it hardly ever ceases, with Howson turning in some truly heartbreaking moments without even uttering a word. It helps that Arnold’s camera is, once again, practially up their noses to capture all of these moments of true, unabashed emotion on screen, but it also is left up to them to be handle this sort of material and put something of a different spin on it.
Of course though, you can only put a spin on an ancient tale so much and so often that, after awhile, there’s no more spins left. A part of me appreciates Arnold for taking this material on and trying something as different as she could think of with it, but there’s still that feeling that she’s tied down because of it. The freedom and the variety that’s been around in so many of her other films seems to have been lost here, if only because she feels as if she has to work for the audience who is actually going to go out and see this, all due to name recognition. Sure, it’s not a bad idea, but it’s also a bummer to watch when you know that someone like Andrea Arnold, can make so many more wonders, when she’s just got a little more freedom on her hands/
That said, it’s still great. So yeah, don’t listen to me, essentially.
Consensus: Dark, gritty and raw, Andrea Arnold’s low-key take on Wuthering Heights works because of its new spin on an age old tale, yet, at the same time, still feels like it’s holding Arnold back a bit.
8.5 / 10
Good thing that they found each other. Shame it seems to be in the wrong year, however.
Photos Courtesy of: Indiewire