I’ve calmed down, and I’m allowed to talk about Wuthering Heights film adaptations again.
There was this period of time when I was a teenager where the cloth-bound-classic edition of Wuthering Heights in my backpack at all times. I still have that copy but it is completely unrecognisable as a copy of Wuthering Heights. It is now this strange mottled steely blue colour, covered in water stains, and has no more markings on its spine. It’s got no title, and no author.
As an anecdote, this is pretty pointless. But to me, this credential says this is my favourite classic. This is most people’s favourite classic. And unfortunately, despite that, it does not have a good film adaptation. A lot of people are historically mad about it.
When Emerald Fennel debuted the worst thing to humankind (a joke), edits of Andrea Arnold’s 2011 adaptation of Wuthering Heights began popping up on social media as its superior. I saw this mostly cited for the fact that it is the only adaptation of Wuthering Heights with a non-white Heathcliff (And was it really that hard? Did anyone die?).
Andrea Arnold’s filmmaking process as well as the general casting process itself seems super unique. Arnold, in a similar fashion to Fennel, directed the film due to her experience first reading Bronte’s work. But Arnold did not feel sadomasochistic; she instead felt deeply sad for Heathcliff.
Due to this sadness, Andrea Arnold decided to make this deeply sympathetic rendition of Wuthering Heights. To express this, she fully committed to casting a non-white Heathcliff (Solomon Glave/James Howson).
Andrea Arnold did initially try to cast a Romany British person to play Heathcliff. However, when unsuccessful she then broadened casting, eventually settling on the decision to cast non-actor James Howson. As well as this she adapted the more ‘ambiguous’ prejudice in the book to reflect her interpretation. The script also updates all ambiguous Victorian insults to traditional slurs and curses to further bring the work out of ambiguity.
This choice to adapt more ambiguous aspects of the text never feels like a jarring or bold choice. In my opinion and arguably Arnold’s, these things were only implications from Brontë due to a level of constraint that has lessened on modern writers. I believe it is a force for good to lean into these uncomfortable aspects and expose the disturbing core that previous adaptations could not explore. Looking at Heathcliff as the victim of not just ostracisation but vehement racist oppression. It counters the odd choices of other adaptations, where hatred for a comically mutton-chopped slightly unkempt man feel hollow and often dissonant.
Sure, Heathcliff could have been othered as an innocent child due to the fact that he was ‘odd’. But this has always felt like an uncanny mistranslation when in film. The subject feels much more balanced when the film fully explores the oppression Heathcliff experiences, allowing Arnold to portray him as both vengeful and victimised.
Other aspects of the film’s casting are also really interesting. For example, Andrea Arnold discovered most of the actors locally in Yorkshire. Non-actor Solomon Glave, whom Arnold discovered locally, plays young Heathcliff. The only large name is Kaya Scodelario, adult Catherine. But even Scodalerio, at the time of filming, was maybe a couple years into her career.
Arnold also reportedly told the cast members not to watch or read the original text. This is an interesting fact when considering, if I’m being honest, I don’t know how someone with no knowledge of the novel’s plot could meaningfully follow this movie. Especially when considering this film is focused on capturing the essence or general tone of the novel: which is pure misery. I mean no one laughs. Even the kids playing on the moors experience playing together as this deeply morose and somber experience.
When it comes to what I enjoyed or loved here, I will say the film’s last half hour is brilliant. Wish the whole film was like that.
I love this film’s intentionality but I will say, as a film, it isn’t exactly enjoyable to watch. I remember watching one of those long-form deep-dive videos about every adaptation of Wuthering Heights. The speaker made this point that every rendition is so period-inaccurate that they are instead products of their release year. This film isn’t Wuthering Heights to me, it is Wuthering Heights 2011.
Mumford and Sons song at the end because its 2011, shaky hand-held because its 2011, nature shots because this tech was probably mind blowing in 2011. But despite those critiques, this is my favourite Wuthering Heights adaptation. My joy at knowing it exists is literally nothing compared to making a couple of jokes.
I think Wuthering Heights 2011 is the best adaptation we have. I also think the films its in competition with make me want to punch dry-wall. Make of that what you will.
