One scene in the film sees Emma suffer a sudden nosebleed in an emotional moment, and Taylor-Joy somehow managed to start bleeding from her nostril right on cue.
The original plan had been to cut the scene and add the fake blood under Taylor-Joy’s nose, but as she told The Guardian there was no intervention necessary.
“I didn’t know I had that talent until that scene,” said Taylor-Joy. “As soon as my nose started bleeding, [director] Autumn de Wilde and Johnny [Flynn, who played Mr Knightley] both got as excited as me. The crew were going, ‘Cut, cut!’ because they were concerned about me but us three were like: ‘What are you talking about? Keep rolling! This is unbelievable! We have to capture it on film.’”
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with persuasion (2022) grappling for the same snarky/fun/whimsy take on austen that emma (2020) had:
emma does retain crucial period-specific elements. dressing, style, social norms, language. i was thrown at first by how different it was from previous adaptations, but its charm is in how fresh it feels despite respecting the source material.
what's more, this doesn't detract from austen's characterisation of emma woodhouse. emma is lively, and bright, and often thoughtless, and that's very much captured in the adaptation. (i have my thoughts on the characterisation of isabella and mr woodhouse but that's a discussion for another day.) sure, we got scenes that were never in the book (the nosebleed one? hysterical) but i'm not against an adaptation throwing some of its own fodder into the mix.
persuasion, though, in trying to follow emma, is in danger of losing the entire spirit of the book and of anne elliot. anne does not exist to be elizabeth bennet-ed and emma woodhouse-d into becoming more palatable to audiences. it's absolutely right that anne is courageous and competent and charming, but in her own unique way. and it is precisely this that should show people that not everyone has to act like elizabeth and emma to be admired as a heroine.
you can be less lively, kind, quiet, humble, and still be as well-beloved. because that's exactly who anne elliot is. she is, and grows to become, a strong woman, despite everyone around her thinking otherwise just because of how unassuming she appears to be.
i think we've lost an incredible chance for anne to help people understand that, and i'm disappointed.
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“I always deserve the best treatment, because I never put up with any other.”
Source: Emma by Jane Austen
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Rewatched Emma. (2020). I am happy to say that the comedic elements - the music, the hurried servants, the father’s and the sister’s hypochondria - are still wonderful. I am less happy to say that I expected to enjoy the whole movie more on second viewing than I had. It is, still, relevant to say that Anya Taylor-Joy is, still, in fact, a joy.
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It was an evening of grey fog that had crept in from the gulf, swathed the harbor, filled the glens and valleys, and clung heavily to the autumnal meadows. Through it the sea sobbed and shuddered.
period drama + fog/mist
THE SECRET GARDEN (1993)
JANE EYRE (2011)
EMMA. (2020)
PRIDE AND PREJUDICE (2005)
ANNE WITH AN E (2017 - 2019)
THE HANDMAIDEN (2016)
THE WOMAN IN BLACK (2012)
BRIDGERTON (2020 - )
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“I lay it down as a general rule, Harriet, that if a woman doubts as to whether she should accept a man or not, she certainly ought to refuse him.”
Source: Emma by Jane Austen
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