Warning: spoilers ahead 

On Valentine’s Day, Emerald Fennell’s “Wuthering Heights” hit theaters. Despite its successful opening weekend, the film has sparked controversy. 

Emerald Fennell took a risk with her bold adaptation of Emily Brontë’s novel. She strayed from the source material in many notable ways and put her own spin on the story. She describes the final product as a representation of how she imagined the book when she first read it at 14. 

The biggest difference from the novel, which sparked controversy before the first trailer was even released, was the choice to cast Jacob Elordi and Margot Robbie in the leading roles of Heathcliff and Catherine. Devoted readers were put off by the age difference, and more importantly, a white actor being cast in the role of a character specifically described in the novel as being “dark-skinned.”

Heathcliff’s race was a point of major discussion and conflict in the novel. Naturally, when Jacob Elordi was cast in the role, there was some upset from audiences. Not only was a large part of the story changed as a result of the casting, but a character written as a person of color had his storyline erased to fit a white actor playing the role. 

Along with changing Heathcliff’s race, Fennell also took some liberties with the overall plotline. The novel is a story of the cycle of violence and revenge. Heathcliff and Catherine are both toxic characters who choose status and revenge over their love for each other. In the novel, their toxic relationship ruins the lives of everyone around them. While they never actually get together or admit their feelings for one another until Cathy is on her deathbed, their silent battle seeps into each of their marriages and haunts Heathcliff after Cathy’s death. The disastrous end to the novel serves as a powerful punctuation to the themes of generational violence and trauma. 

Emerald Fennell’s film focuses less on how Heathcliff and Cathy’s toxic love affects those around them, and more on how they doomed their own love by holding onto revenge and pride. In the film, Cathy and Heathcliff had a full-blown affair following his return to the Heights, differing greatly from the novel, in which they held onto their love from afar until it killed them both. 

The new film added a whole storyline, erased characters completely (including Cathy’s child, which was never born in the film), and ended when Cathy died, even though the book had a few hundred pages following her death. In terms of storyline, Fennell took many liberties with her film. Coming from the perspective of having read the novel, I was shocked in the theater to see a story so far removed that I almost wouldn’t have known what it was based on if it weren’t for the title and names.

In my opinion, the movie would have done better, caused less controversy, and been a better film in general had Emerald Fennell changed the name and treated the film as though it were inspired by “Wuthering Heights” and not a direct adaptation. 

Looking past Fennell’s blatant disregard for the source text, this film has her touch of striking cinematography and symbolic storytelling. Her attention to detail is apparent in every shot, and the mis-en-scene and cinematography are reminiscent of a golden-age period piece while still creating an alternate world for viewers to be swept away into.

One of my favorite shots in the film is when Heathcliff flees Wuthering Heights on horseback and literally rides off into the sunset. Atop the horse, he is just a silhouette against the bright red dusk. The vibrance of the sky and the composition of the shot reminds me of “Gone with the Wind,” and I thought it gave the film a touch of classic cinema amidst a modernized period piece. 

In terms of mis-en-scene, my favorite feature was the Linton’s house. Each room felt like its own world, but Catherine’s room stood out the most. Her whole room being the color of her skin, right down to her freckles and veins, builds the illusion that she is trapped inside herself. Just like she can’t escape her decision to marry Edgar Linton, she can’t escape herself, even while she sleeps. I loved the detail in the final moments of the film to have the leeches on Catherine’s skin as well as the wall, suggesting she has become a part of the room and, in turn, the house has become an extension of her existence, a place that will continue to haunt Heathcliff after Catherine’s death. 

The cherry on top is Charli XCX’s original score. The sweeping, dramatic music provides the perfect haunting tone. As soon as the movie starts and Charli’s song “House” begins to play, viewers know this is no ordinary romance movie. There is something darker, more dramatic at hand. It sets the tone for the emotional force of the film as a whole.

In conclusion, if you’re looking for an artsy period piece, a dark, angsty romance, and you liked the movie “Saltburn,” “Wuthering Heights” will give you everything you want and more. But, if you loved the novel and want to see an accurate adaptation, stick to the older adaptations, like Peter Kominsky’s 1992 adaptation, or Andrea Arnold’s 2011 version. 

Emerald Fennell’s “Wuthering Heights” will be remembered for its powerful imagery and striking story, but it will not be remembered as the most accurate depiction of the classic novel.