Fennell’s “Wuthering Heights” Adaptation Sparks Outrage Among Brontë Purists
A new take on the classic novel, starring Margot Robbie and Jacob Elordi, is drawing criticism for prioritizing romance over the source material’s dark themes.
The impending release of Emerald Fennell’s adaptation of Emily Brontë’s “Wuthering Heights” has ignited a fierce debate, leaving many devoted fans of the 1847 novel feeling alienated. Every detail revealed about the film, starring Margot Robbie and Jacob Elordi as Cathy and Heathcliff, respectively, appears to further distance the project from the spirit of Brontë’s work, prompting concerns that it will be a highly stylized romance rather than a faithful adaptation.
The controversy began with the casting choices, which were met with immediate disapproval. Beyond physical incongruences between the actors and Brontë’s characters – including differences in age, hair color, and skin color – fans questioned whether Robbie and Elordi could embody the morally complex nature of their literary counterparts, whose destructive passion literally ruins lives. As one observer noted, Robbie’s most unhinged role may be in “I, Tonya,” while Elordi’s charm consistently shines through even when portraying abusive characters in “Euphoria” and “Priscilla,” and even a monster in the new “Frankenstein.”
Until recently, the film’s creators offered little reassurance. During an April appearance at the Sands Film Festival in St Andrews, Scotland, the film’s casting director defended the choices by invoking “racially blind casting” and urging audiences to reserve judgment. However, she also acknowledged, “There’s definitely going to be some English Lit fans that are not going to be happy.” In a particularly candid moment, she responded to an online threat with a defiant statement: “There was one Instagram comment that said the casting director should be shot. But just wait till you see it, and then you can decide whether you want to shoot me or not. But you really don’t need to be accurate. It’s just a book. That is not based on real life. It’s all art.” She further teased that the set design would be “even more shocking” than the casting and hinted at the inclusion of a “dog collar.”
This week, Robbie and Fennell doubled down on their vision, potentially delivering the most discouraging news yet for Brontë devotees. In a conversation with British Vogue published on Thursday, the director and actor – whose company, LuckyChap, also produced Fennell’s debut and “Saltburn” – revealed their intention to create an epic love story reminiscent of Baz Luhrmann’s “Romeo + Juliet” and other popular Hollywood romances.
“In one of our first conversations about this film, I asked Emerald what her dream outcome was. She said, ‘I want this to be this generation’s “Titanic.” I went to the cinema to watch “Romeo & Juliet” eight times and I was on the ground crying when I wasn’t allowed to go back for a ninth. I want it to be that,’” Robbie explained, adding that she envisions the film, slated for release on Valentine’s Day next year, as “going to be an amazing date movie.”
Robbie further elaborated that she and Fennell extensively discussed the film’s intimate scenes, teased in the trailer, with a focus on creating a film suitable for a romantic evening or a girls’ night out. “Everyone’s expecting this to be very, very raunchy. I think people will be surprised. Not to say there aren’t sexual elements and that it’s not provocative – it definitely is provocative – but it’s more romantic than provocative,” she said. “This is a big epic romance. It’s just been so long since we’ve had one – maybe ‘The Notebook,’ also ‘The English Patient.’ You have to go back decades.”
Interestingly, Fennell’s inspiration for the adaptation stemmed from seeing Elordi on the set of “Saltburn” sporting sideburns reminiscent of her teenage vision of Heathcliff, while Robbie admitted to never having read the book or seen previous adaptations before joining the project. She was primarily drawn to Fennell’s script and its portrayal of Cathy, which aligned with the director’s desire for a likable female lead.
“Cathy is a star,” Fennell stated in the interview. “She’s willful, mean, a recreational sadist, a provocateur. She engages in cruelty in a way that is disturbing and fascinating. It was about finding someone who you would forgive in spite of yourself, someone who literally everyone in the world would understand why you love her. It’s difficult to find that supersized star power. Margot comes with big dick energy. That’s what Cathy needs.”
These comments, taken together, validate the fears of many that the new film will bear little resemblance to the original text, instead prioritizing a star-studded, visually striking blockbuster romance. While previous adaptations have also taken liberties with the source material – including the 1939 version starring Laurence Olivier, which cut half the plot – a fundamental ideological divide exists between the Hollywood creatives and the dedicated fanbase of Brontë’s “Wuthering Heights.”
Ultimately, those familiar with the novel understand that “Wuthering Heights” is not a romance; it is a cautionary tale. Marketing it as “the greatest love story of all time,” as the film’s promotional materials do, diminishes the brilliance of Brontë’s work – a sentiment that would likely not sit well with even the most ardent admirer of Nicholas Sparks.