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UK
Average rating 7,6 of 10

Genre Drama
Directors Autumn de Wilde
Writed by Eleanor Catton
Emma. watch full length episode. Emma. watch full length film. Youve come such a long way. So proud of u😭🤍. There was a problem filtering reviews right now. Please try again later. Reviewed in the United States on March 20, 2020 Format: Prime Video If I am paying $20 to rent I should be getting a digital copy! Reviewed in the United States on March 20, 2020 Format: Prime Video Verified Purchase I am sitting here alone, in the midst of quarantine, because the rest of my family couldn't handle this movie any longer and fled. I have not left my house in five days, but death by coronavirus would be more merciful than continuing to watch this movie. Everyone in this movie is so unlikable, which is not Jane Austen's fault. The other versions were good. The only saving grace is Chummy from "Call the Midwife. " Reviewed in the United States on March 20, 2020 Format: Prime Video This is the purchase price for the movie. Ridiculous. Supposed to look altruistic, but it's a simple moneymaker for amazon. Sad. Won't be buying or renting. Reviewed in the United States on March 20, 2020 Format: Prime Video Verified Purchase Sets, scenery and costumes are fantastic - the colors magical and so well done. I have seen all versions of Emma as well as read the book more times that I can count and this is by far my least favorite. Story and characters are not well developed and I would think that if you didn't know the story, it would be confusing. Very cartoonish and at times awkward and choppy. I feel the only real characters that viewers get to know and enjoy are Mr. Woodhouse & Mrs. Bates. The character Emma lives a privileged, meddlesome life but always tries to do good and be kind. This version shows her more as an annoyed, spoiled brat with no real intention of kindness or concern for happiness except her own. And what is with the nosebleed scene?!? Reviewed in the United States on March 20, 2020 Format: Prime Video Verified Purchase The only thing I could really appreciate were the decadent costumes, set design and location! Stunning in that regard. But I could not warm up to ANY of those characters, which is a HORRIBLE commentary. I am shocked how bad this was, having seen several other Emma adaptations. What a money making racket. They knew Emma would be a cash cow (with a huge Austen fan base). The 1996 movie is far more beautiful, sentimental, human, relatable. There is zero chemistry of any kind between the love interests, that alone is what qualifies this movie as a comedy. Seriously, watch Austenland instead. Don’t waste your money renting this for ANY price. Amazon reviews are reliable; we know that! Reviewed in the United States on March 20, 2020 Format: Prime Video Verified Purchase I was hesitant to see this in theaters due to COVID-19. So glad they made it available here. I have to say, of all the versions of EMMA that I've seen [and I think I've seen all of them... ] this one shines. The acting is spot on, the costumes are incredible, the sets are a feast for the eyes. Prior to this my favorite version of EMMA was the 1995 version with Kate Beckinsale, but I have to say Anna Taylor-Joy captures the haughtiness and sensitivity of the character so much more. Finally: As a professional fashion historian I appreciate that SO many of the vignettes and scenes seemed to come directly from popular Georgian engravings... Such a treat!!! Reviewed in the United States on March 20, 2020 Format: Prime Video Verified Purchase A bit slow moving, particularly for the masses, and only appreciated, perhaps, if you know the history of the time period. However, idyllic scenery, beautiful costuming, and the delightful Bill Nighy, in a part that could have used beefing up. Reviewed in the United States on March 20, 2020 Format: Prime Video Verified Purchase Absolutely beautiful. There were a few iconic story parts that were left out or told in a different light, but none of this took away from the overall story. Autumn de Wilde did a marvelous job letting some of the minor characters have a voice. I cannot wait to watch a third and fourth time!

Emma. watch full length video. I love this song and you Emma ❤❤❤❤. Credit... Jingyu Lin for The New York Times Reporter’s Notebook Other movie versions of the Jane Austen heroine emphasized her charms. This time she doesn’t care about pleasing her audience. Anya Taylor-Joy, left, the star of the new “Emma, ” and her director, Autumn de Wilde. Jingyu Lin for The New York Times 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. 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. It’s one of those instances that turns everything around, for a story and for a character. But 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. 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. “She’s not a bad person; she’s not a psychopath, ” de Wilde said recently, on a visit to New York. “She has a magic to her” — a charismatic charm — but she’s also “a misguided, spoiled, selfish girl. ” Emma, at least as the novel begins, is queen of her tiny neighborhood and the most problematic, and hardest to like, of Austen’s best-known heroines. She doesn’t have Elizabeth Bennet ’s playful sense of humor about herself, or Elinor Dashwood ’s maturity, or Anne Elliot ’s deep understanding of her place in the world. Instead, Emma has lived “nearly 21 years in the world with very little to distress or vex her, ” Austen writes — spoiled from having had “rather too much her own way, and a disposition to think a little too well of herself. ” That is one challenge; the other is the burden, if that is the right word, of remaking something that has often been remade before. There have been three other “Emma” movies in the last 15 years, four if you go back to 1995 and include “Clueless, ” the “Emma”-inspired comedy set in the cutthroat world of a Southern California high school. Mostly they emphasized Emma’s charm over her shortcomings. Even when we are exasperated by Emma — or, actually, by Gwyneth Paltrow, or Kate Beckinsale, or Romola Garai, or Alicia Silverstone — we can’t help but find her delightful. Image Credit... Focus Features But 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. Night Shyamalan’s horror movie “Split” (2017). 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. “I was really sick of women having to be not just likable, but also easy to like, ” Taylor-Joy said. “Whenever she had a bad moment, I wanted it to be a moment in which people would see her behaving badly. ” 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). 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. 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. “Too many decisions are made in order to make girls look attractive to modern audiences, ” de Wilde said. “We’re moving into a time, luckily, where we can have Emma be as I wanted to depict her, as she was in my mind. ” If her vision of Emma was daring, so was de Wilde as a daring choice. A photographer and music-video director known for her meticulous composition and witty eye, she had never directed a feature film before. (You can see her photographic work in the film’s poster, which she also shot. ) In the interview, she had a ready answer to the question of why we need another Emma: Why not? “No one would ever say that about ‘King Lear’ or ‘Romeo and Juliet, ’” she said. “When something is as well-written as ‘Emma, ’ there are endless possibilities to grab on to with your interpretation. ” What she wanted to emphasize were the poignancy of the relationship between Emma and her less well-born friend Harriet, as Emma realizes how wrong she has been to meddle in Harriet’s love life; and the dead-on humor with which Austen skewers small-town life. De Wilde envisioned the movie as part romantic comedy, part slapstick, and got her actors to watch the Cary Grant-Katharine Hepburn classic “Bringing Up Baby” to set the right mood. For Mr. Knightley, Emma’s neighbor, voice of reason and love interest, she wanted someone sexy and a little bit dangerous rather than pedantic and preachy, as the character can too often seem. She cast the British musician and actor Johnny Flynn, who exudes a non-Regency sex appeal. “I called up a musician friend of mine in England and I said, ‘If you were to pick a British actor who you would have a crush on, who would it be? ’” she recalled. “He sent me five photos of Johnny Flynn. He said, ‘I want to be Johnny Flynn; I’m in love with Johnny Flynn; my fiancée is in love with Johnny Flynn. ” Miss Bates is played by Miranda Hart (“Call the Midwife”) who has an almost uncanny ability to combine physical comedy with pathos. She and the director are both very tall — each 6-foot-2, de Wilde said — and de Wilde has a particular sympathy for the humiliated Miss Bates during the picnic at Box Hill because she herself was bullied as a girl. “She’s taller than Emma; she’s in Emma’s way; she’s a spinster, ” de Wilde said. “She is a giant woman who is mad and joyous but talks too much and is annoying. What I wanted was the audience to go along laughing at her so by the time we get to Box Hill, they realize they have become part of the bullying — and they regret their laughter. ” She added: “If that scene at Box Hill doesn’t break your heart, the movie is ruined — it’s over. ” She cast the great British character actor Bill Nighy as Mr. Woodhouse, Emma’s super-nervous father — afraid of change, afraid of drafts, afraid that he or the people he loves will catch cold or move away or get married or be beset by some other calamity. “He’s a valetudinarian as opposed to a hypochondriac, who is entirely concerned with their own health — he’s obsessively concerned with everybody else’s, ” Nighy said in an interview. He had never read Jane Austen and was a little wary of period dramas, he said, but was tickled by de Wilde’s concept for the character. “The idea of the uptight, paranoid, nervous Englishman makes me laugh, and there is a great pleasure in playing that kind of character, ” said Nighy, who spends much of the movie positioned next to the fire in his drawing room, protected from the draft by screens whose choreographed positioning and repositioning makes them almost a character unto themselves. Emma’s patience for her father’s neuroses is expressed in the tender, loving way Taylor-Joy treats Nighy in their scenes together. But she has a lot to learn about the other people in her life, and the film emphasizes the felicity in the way she makes amends — a rare and happy thing in our one-strike-and-you’re-canceled era. (And of course she finds love, because “Emma, ” after all, is a romantic comedy. ) “Nowadays people are so quick to condemn, ” de Wilde said, “and so it’s really nice to watch someone make mistakes, and grow, and redeem themselves. ”.

Emma. Watch Full lengths. I LOVE YOU EMMA 😘😘. Emma. watch full length hair. YouTube. Don't think old boy got what he was after... 😘😍 loveli 💋🍒🍒🍒. Emma. watch full length hairstyles. I love Saoirse Ronan but when I think Jo March in my head. all I see is Winona But I look forward to seeing this adaptation. Emma. watch full length episodes. Jeg elsker sangen din Emma og eg er din største fen🤗🥰😘😍. Learn more More Like This Adventure | Drama Family 1 2 3 4 5 6 7 8 9 10 6. 9 / 10 X A sled dog struggles for survival in the wilds of the Yukon. Director: Chris Sanders Stars: Harrison Ford, Omar Sy, Cara Gee Horror Mystery Sci-Fi 7. 5 / 10 When Cecilia's abusive ex takes his own life and leaves her his fortune, she suspects his death was a hoax. As a series of coincidences turn lethal, Cecilia works to prove that she is being hunted by someone nobody can see. Leigh Whannell Elisabeth Moss, Oliver Jackson-Cohen, Harriet Dyer Romance 8 / 10 Jo March reflects back and forth on her life, telling the beloved story of the March sisters - four young women each determined to live life on their own terms. Greta Gerwig Saoirse Ronan, Emma Watson, Florence Pugh 8. 2 / 10 On an isolated island in Brittany at the end of the eighteenth century, a female painter is obliged to paint a wedding portrait of a young woman. Céline Sciamma Noémie Merlant, Adèle Haenel, Luàna Bajrami Fantasy 4. 6 / 10 A horror adaptation of the popular '70s TV show about a magical island resort. Jeff Wadlow Michael Peña, Maggie Q, Lucy Hale Animation Comedy 7. 7 / 10 Set in a suburban fantasy world, two teenage elf brothers embark on a quest to discover if there is still magic out there. Dan Scanlon Tom Holland, Chris Pratt, Julia Louis-Dreyfus 4. 9 / 10 Barely escaping an avalanche during a family ski vacation in the Alps, a married couple is thrown into disarray as they are forced to reevaluate their lives and how they feel about each other. Directors: Nat Faxon, Jim Rash Julia Louis-Dreyfus, Will Ferrell, Miranda Otto 5. 9 / 10 Satire about the world of the super-rich. Michael Winterbottom Steve Coogan, Isla Fisher, Shirley Henderson 5. 5 / 10 A physician who can talk to animals embarks on an adventure to find a legendary island with a young apprentice and a crew of strange pets. Stephen Gaghan Robert Downey Jr., Antonio Banderas, Michael Sheen Action Crime 8. 1 / 10 An American expat tries to sell off his highly profitable marijuana empire in London, triggering plots, schemes, bribery and blackmail in an attempt to steal his domain out from under him. Guy Ritchie Matthew McConaughey, Charlie Hunnam, Michelle Dockery 6. 5 / 10 After splitting with the Joker, Harley Quinn joins superheroes Black Canary, Huntress and Renee Montoya to save a young girl from an evil crime lord. Cathy Yan Margot Robbie, Rosie Perez, Mary Elizabeth Winstead Sport 7. 3 / 10 Jack Cunningham was a HS basketball phenom who walked away from the game, forfeiting his future. Years later, when he reluctantly accepts a coaching job at his alma mater, he may get one last shot at redemption. Gavin O'Connor Ben Affleck, Janina Gavankar, Michaela Watkins Edit Storyline Jane Austen's beloved comedy about finding your equal and earning your happy ending, is reimagined in this. Handsome, clever, and rich, Emma Woodhouse is a restless queen bee without rivals in her sleepy little town. In this glittering satire of social class and the pain of growing up, Emma must adventure through misguided matches and romantic missteps to find the love that has been there all along. Written by Focus Features Plot Summary Plot Synopsis Taglines: Love knows best. See more » Details Release Date: 6 March 2020 (USA) Box Office Opening Weekend USA: $234, 482, 23 February 2020 Cumulative Worldwide Gross: $20, 892, 065 See more on IMDbPro » Company Credits Technical Specs See full technical specs » Did You Know? Trivia All of the music performances in the film are real, played by the actors in character. None are staged. See more » Quotes Miss Bates: Oh, oh Mother, do you hear? MISS WOODHOUSE HAS INVITED US TO HARTFIELD! Connections Version of Emma (1972) See more ».

Jane Austen ‘s beloved 1815 classic Emma is saddled with some serious 19th-century baggage: namely, that the romance at its heart pairs the fresh-faced, 21-year-old titular protagonist with a gentleman 16 years her senior, with all the power imbalances attendant to both their age gap and the gender norms of the era. For the new movie adaptation (stylized as Emma. ), the solution to this is fairly simple: cast the lovable Johnny Flynn as the male lead, mostly ignore their ages altogether and add human moments of flesh and passion to Emma Woodhouse and George Knightley’s story, turning the romantic interest’s paternalistic tendencies on the page into something a little more palatable for a 2020 audience sick of mansplaining. At least, that’s how director Autumn de Wilde and screenwriter Eleanor Catton approached the challenge in their colorful, witty take on Austen’s novel. Emma — like all of the author’s best-known books — is a comedy about love, a Shakespearean maze of relationships and miscommunications that, in the end, get tied up neatly with velvet ribbons. Ahead of its time, it features a complex female character and centers women’s interior lives, turning the seemingly mundane (everyday romantic dalliances) into the monumental (the struggle to survive during a time with limited options). The new Emma., starring a doe-eyed Anya Taylor-Joy opposite the scruffy, earthy Flynn as Knightley, hews closely to the original’s staid social norms, costume finery, decadent country estate settings and period-specific dialogue. It’s funny and fresh (see: flashes of nudity; Bill Nighy’s pitch-perfect comedy beats; a sugary, meticulous aesthetic that lands somewhere between Wes Anderson tweeness and Sofia Coppola’s Marie Antoinette) — though Clueless it is not. Yet in a sly move, de Wilde and Catton update the romantic relationship at the center of the story, turning Knightley from a safe — but questionably older — choice into a more appealing object of affection. Anya Taylor-Joy (left) as "Emma Woodhouse" and Johnny Flynn (right) as "'George Knightley" in director Autumn de Wilde's EMMA, a Focus Features release. Credit: Focus Features Courtesy of Box Hill Films—© 2019 Focus Features, LLC. All Rights Reserved When we meet the gentleman Knightley on the page, it’s as Emma’s older brother-in-law and neighbor. We learn early on about their significant age gap, and that their relationship has an unequal power dynamic, exemplified by Knightley’s gentle admonishments of Emma’s behavior. In conversations with others about Emma, Knightley remains astute but cool, telling her friend Mrs. Weston of the faults he finds: “She will never submit to anything requiring industry and patience, ” he laments. And: “Emma is spoiled by being the cleverest of her family. ” But he tempers his critiques with a superficial compliment: “I love to look at her. ” In Austen’s world, disparities of age and power between potential matches were par for the course; women were ushered at young ages into the safety of matrimony, the goal ultimately to match with the wealthiest possible future husband and protector. (See also: Marianne in Sense and Sensibility. ) Back then, with few options to earn income for themselves, this was necessary for survival. Today, however, this reads as antiquated, if not a little creepy. As for Knightley? His conversion from Emma’s mentor to her lover is slow and subtle; he grooms Emma into a better person with advice and criticism handed down from a superior. Patriarchal love is embedded in the story, even if Austen makes sure that Knightley learns some lessons by the end, too. But de Wilde’s take on the characters offers something both spicier and more equal, particularly in softening the characterization of Knightley. In one early scene, Flynn strips down to complete nudity while changing clothes, a moment of bodily vulnerability never seen in Austen’s writing. In interviews, de Wilde has explained her desire to flip the script a bit on period pieces that traditionally objectify the female form. In another scene, he flings himself to the floor of his lavish, empty estate, helplessly exhausted and lovelorn, a peek into his emotional state which the novel doesn’t offer. And when he chastises Emma for cruelly making fun of a friend, he does so fervently. “It was badly done, Emma, ” he explodes at her, raising his voice. The quote is nearly the same on the page, but it’s said as part of a longer and more measured monologue. Flynn’s delivery transforms its meaning, from a moral lesson into a moment of justified passion. Taylor-Joy’s Emma snaps right back. English gentry aren’t known for their displays of emotion, especially in the sedated world of Austen, so there’s something shockingly modern about their exchange. Later, there’s even that big Regency-era transgression: a kiss. It helps that Flynn, best known to U. S. audiences for playing the eternally jilted main character in the Netflix rom-com series Lovesick, channels Knightley with a kind of boyish intensity. (In real life — and typical Hollywood fashion — he is 13 years Taylor-Joy’s senior, although he comes across younger in character. ) The lessons he tries to impart to Emma — about refraining from meddling, about the realities and responsibilities of social class, about kindness — are not delivered with tact, but with real emotion, often clumsily. Crucially, his character’s age — and their age difference — is elided onscreen, leaving us to draw our own conclusions about their appropriateness for each other. The result: a worthy pairing, the kind contemporary audiences can root for instead of feel conflicted about. Flynn has admitted in interviews that Knightley is a bit of a “mansplainer. ” But he tried to play it from a less didactic — and more romantic — angle. “What I like is that he’s tortured about it, ” he told the Radio Times, “and he’d rather not be, and he apologizes for it. I think he explains what the feeling is behind it, and I think there’s a lesson for men in there somewhere, like being open to evolving. ” (That evolution is also in the text, as Knightley recognizes his own faults by the end. ) Johnny Flynn stars as "'George Knightley" in director Autumn de Wilde's EMMA, a Focus Features release. Credit: Focus Features Emma has been adapted at least a dozen times for film and TV. The most recent movie adaptation came out in 1996, starring a fresh-faced Gwyneth Paltrow as Emma and the refined Jeremy Northam as Knightley. They play their parts with tenderness and respect; their partnership is a foregone conclusion that only they cannot see, and Paltrow imbues Emma with a sweetness that Taylor-Joy exchanges for coyness. Paltrow’s Emma is a little too full of herself, but ultimately young, guileless and good-hearted; Taylor-Joy’s Emma, meanwhile, is a little too aware of her power and position, consciously using her femininity and status to get what she wants. (And when she messes up and her plans go awry, her pain feels sharp. ) By drawing out the pricklier and more complex character that Austen originally wrote, de Wilde confirms her potency as a woman in charge of her destiny. In fact, this movie’s read on Emma is a little more in line with what goes down in the original Austen — and in Clueless, Amy Heckerling’s 1995 masterpiece that catapults the character through space and time, rendering her as a modern Valley Girl. Emma is one of Austen’s most acerbic stories: she calls her protagonist “handsome, clever, and rich, with a comfortable home and happy disposition” who “seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her. ” You can read this as an endorsement, but you can also pick up on it is deadly-dry humor, which both Heckerling and de Wilde latch onto in their renditions. Alicia Silverstone ‘s Cher and Taylor-Joy’s Emma share a vanity and self-assuredness that make them both masterminds and subjects of the joke — but never passive players. That part of Emma, at least, never needed a modernization. Anya Taylor-Joy stars as "Emma Woodhouse" in director Autumn de Wilde's EMMA, a Focus Features release. Credit: Focus Features Updating the sexual politics and power dynamics of old stories for new audiences is hardly a new concept. Greta Gerwig did it in Little Women, doubling down on the economic considerations of single women in the 19th century and redrawing Jo March’s ultimate match into one who’s more appealing to romantics and feminists alike. (Though Gerwig also said she found many of those themes right there on the page, captured 150 years ago by Louisa May Alcott. ) 10 Things I Hate About You, released in 1999, remixed Shakespeare’s The Taming of the Shrew, with Julia Stiles in fine feminist form. And it’s not just heroines of yesteryear who have gotten a 21st century revision, but also characters introduced more recently — thanks to Hollywood’s reliance on preexisting IP, they’re revisited more than ever. Adaptations like Hulu’s teen drama Looking for Alaska, based on John Green’s 2015 young adult novel, gave its lead more agency. Even female superheroes (and antiheroes) have gotten revamped; Harley Quinn, who debuted in 1992, traded in her stilettos for more practical sneakers in this year’s Birds of Prey. After years of demanding more equality onscreen we are — finally — starting to see it more regularly. Not that Austen’s stories need too much brushing up. They’ve always been about women finding their way in the world, bristling against the pressures of female perfection. In Austen’s slice of 1815 society, that meant something very different than it does today. But a few things really are universal across the centuries, from the original to its many retellings: Emma always says she isn’t looking for love, but in the end, she finds one anyway. In the new Emma., she also gets an equal. Get The Brief. Sign up to receive the top stories you need to know right now. Thank you! For your security, we've sent a confirmation email to the address you entered. Click the link to confirm your subscription and begin receiving our newsletters. If you don't get the confirmation within 10 minutes, please check your spam folder. Write to Raisa Bruner at.

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