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In the interview, she had a ready answer to the question of why we need another Emma: Why not? (You can see her photographic work in the film’s poster, which she also shot.) A photographer and music-video director known for her meticulous composition and witty eye, she had never directed a feature film before. If her vision of Emma was daring, so was de Wilde as a daring choice.
The film emphasizes Taylor-Joy’s striking, almost otherworldly appearance but at times plays down her natural physical appeal in the service of her character’s haughtiness. Meanwhile, her hair is corralled into tight curls on either side of her face, à la Nellie in “Little House on the Prairie” and when she is displeased, she can look as if she’s sucking on a lemon drop. In the film, Taylor-Joy wears true-to-the-period gowns that are not always flattering (one has a neckline so high that it appears to be choking her). “Whenever she had a bad moment, I wanted it to be a moment in which people would see her behaving badly.” “I was really sick of women having to be not just likable, but also easy to like,” Taylor-Joy said. She plays Emma with style and attitude and sharpness, as if the character has stepped out of a Regency England version of “Mean Girls.” If every era gets its own “Emma,” perhaps the time is right for one whose job is not always to please the audience.
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Night Shyamalan’s horror movie “Split” (2017). “She has a magic to her” - a charismatic charm - but she’s also “a misguided, spoiled, selfish girl.”īut Taylor-Joy, 23, came to the part animated, she said in an interview, by Austen’s own description of Emma as “a heroine whom no one but myself will much like.” She is perhaps best known for portraying people in extremis: the possibly possessed 17th-century farmer’s daughter in “The Witch” (2016) and one of the girls trapped in the basement by the psychopathic James McAvoy in M. “She’s not a bad person she’s not a psychopath,” de Wilde said recently, on a visit to New York. In this case, de Wilde filmed the scene several different ways, ultimately rejecting the cruelest version in favor of one in which Emma is not vicious so much as thoughtless.
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It’s one of those instances that turns everything around, for a story and for a character.īut how to get the tone right while filming it? How awful should Emma be before she learns not to be awful at all? That was the problem facing the director Autumn de Wilde, whose “Emma” features a heroine (played by Anya Taylor-Joy) destined to try the patience of the audience.
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Bored and careless of other people’s feelings, she makes a cutting remark that is meant to be witty but ends up humiliating its target, the kindly, twittery, tedious professional spinster Miss Bates. There’s a moment toward the end of Jane Austen’s “Emma,” when the heroine goes to a picnic and is horrified to discover that she is not as wonderful as she once believed.
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