Film review: ‘WUTHERING HEIGHTS’ by Nick Gardener from ‘Built For Speed’
In this media-saturated world no organism could be unaware that a new version of Emily Bronte’s Wuthering Heights starring two of the most Hansel-approved ‘so hot right now’ Hollywood stars, Margot Robbie and Jacob Elordi, has hit our cinemas. Wuthering Heights is one of the most adapted novels in the English literature canon with more than 30 film or TV versions. Many of these adaptations have failed to make a lasting impression on our cultural memory but William Wyler’s 1939 version starring Laurence Olivier is hailed as a classic. Now, after her shaky but entertainingly subversive take on class consciousness in Saltburn, Emerald Fennell delivers her spin on Bronte’s English literature class favourite. Almost gleefully pushing style over substance, this extremely slimmed down retelling of the story is tonally wobbly and lacks the novel’s gothic menace but as a swooning otherworldly barrage of images it is stunning. Also, with Fennell’s distinctly off kilter sensibility it’s dotted with weirdly indelible moments.
In a move that will no doubt annoy purists; the film dispenses with nearly two volumes of the original novel including the opening flashback storytelling set-up. Instead, it takes us straight into the world of the rambunctious Catherine Earnshaw, the daughter of widower Mr Earnshaw (Martin Clunes) who resides in the crumbling estate ‘Wuthering Heights’ on the wild and windy Yorkshire moors. As a young girl (Charlotte Mellington), Catherine befriends the ragged orphaned Heathcliff (Owen Cooper from Adolescence). As they grow up together, intensely romantic feelings develop between them but Cathy (Margot Robbie) fears a life of poverty having seen her drunken inveterate gambler dad fall into ruin. Becoming the wife of the rich and gentlemanly but slightly wet local squire Edgar Linton (Shazad Latif) seems to be the answer but her feelings for Heathcliff cannot be suppressed.
Brontë depicted the Yorkshire moors as a cauldron of primal passions both sexual and violent and Heathcliff and Cathy as both the embodiment and victims of these. Fennell captures some of that tempestuous and overwhelming emotion but a little too often slides into Mills and Boon territory with sweaty bodies, breathy pronouncements of love, heaving bosoms and pirate shirts.
Some other choices in this film might also irk traditionalists. Fennell adds some quirky comedy to the story, particularly from the Linton’s kooky ward Isabella (Alison Oliver), which is often quite funny but makes it that much more difficult to take the dramatic parts of the film seriously. Fennell also veers toward Fifty Shades territory as in one scene where Cathy spies on the stable boy and his lover engaging in some weird equestrian themed bondage.
That some of the drama works is a credit to the two leads Margot Robbie and Jacob Elordi. Robbie impressively captures the complex character of Cathy which switches back and forth between romantically tragic figure, sympathetic heroine, victim of the patriarchy and selfish manipulator. As the glowering Heathcliff, Jacob Elordi has an appropriately imposing presence. Beginning as a dishevelled hipster Jesus lookalike before transforming into the coiffured bad boy lord of the manor, Elordi gives a potent performance although the omissions from the original story take away some of the complexity and nuance in his character. Hong Chau provides fine support as the coldly mischievous servant Nelly, Shazad Latif makes Edgar Linton a surprisingly sympathetic figure while Martin Clunes does some wonderful scenery chewing and regurgitation as the sozzled old git Mr Earnshaw.
Whatever else people take away from this film, few could deny it looks amazing. Fennell has conjured a striking looking world with vivid depictions of the rugged moors contrasted against the deliberate artificiality of the Linton mansion with its blazing primary colours, gleaming chequerboard floors and ornate furnishings. The lush cinematography from Linus Sandgren (La La Land, No Time to Die, Saltburn) also draws out colours too often missing from today’s dour looking movies and evokes the Hammer films of the 60’s and even Gone With The Wind.
Another influence seems to have been the work of Sofia Coppola. One shot of Cathy recalls a famous composition from Coppola’s The Virgin Suicides while Wuthering Heights, like Coppola’s Marie Antoinette, sees an attractive young woman festooned in but also imprisoned by outrageous wealth. Like that film, Wuthering Heights uses contemporary songs, in this case originals from Charlie XCX, which feel appropriate although most of the film relies on a traditional classical score.
Some may not get past the story omissions, the quirkiness and the general superficiality of Fennell’s take on Wuthering Heights but for many this sumptuous looking, charismatically performed film will burrow itself into their consciousness, possibly evoke a few tears and leave them scurrying for Bronte’s novel.
Nick’s rating: ***
Genre: Romance/ Drama/ Historical.
Classification: M.
Director(s): Emerald Fennell.
Release date: 14th Feb 2026.
Running time: 136 mins.
Reviewer: Nick Gardener can be heard on “Built For Speed” every Friday night from 8-10pm on 88.3 Southern FM.