Tag Archives: Isobel Waller-Bridge

“CINEMA” REVIEW: EMMA (2020)

“CINEMA” REVIEW: EMMA (2020)

Directed by: Autumn de Wilde

Produced by: Tim Bevan, Eric Fellner, Graham Broadbent, Pete Czernin

Screenplay by: Eleanor Catton

Based on: Emma by Jane Austen

Cast: Anya Taylor-Joy, Johnny Flynn, Josh O’Connor, Callum Turner, Mia Goth, Miranda Hart, Bill Nighy, etc.

Music by: Isobel Waller-Bridge, David Schweitzer

Cinematography: Christopher Blauvelt

**** MAY CONTAIN SPOILERS ****



With society and humanity constantly battered by recessions, pandemics, stock market crashes, famine, war, greed, prejudice, hatred, social media conflict, computer hacking, crime, exploitation, depression, addiction and any other number of apocalyptic threats, you can always rely on a good old-fashioned Jane Austen adaptation to create an escape from such woes. While I’m not a huge fan of Ms. Austen’s literary works, due mainly to ignorance on my part, I certainly recognise her genius as a storyteller. Indeed, she virtually single-handedly created, way back in the early 19th century, her own genre of romantic comedy in the Georgian-Regency period.

Emma was her fourth completed novel and released in 1815. It concerns the titular heroine, Emma Woodhouse. She is well-off, clever and someone who enjoys matchmaking and manipulating affairs of the heart. There have been many adaptations of the book on TV and film and aside from the loose Hollywood remake, Clueless (1995), I had not seen any of them. I only got roped into watching the latest version of, Emma (2020), directed by Autumn De Wilde, with Anya Taylor-Joy and Johnny Flynn in the leads, because my wife insisted on it. In marriage one must make sacrifices and compromises, so as it was our anniversary, I agreed to watch the film at home under “Cinema Rules.” I’m most glad I did too as I found it an extremely light but frothy work of entertainment.



As I had little knowledge of the book I went into the narrative of Emma (2020) unburdened by scanning the differences between novel and film. At two hours in length one expects there to be some omissions, however, I would not have noticed. What I did gather was that this was a bright and very attractive looking production. The costumes, props, landscapes and interior locations were all deftly presented with vibrant colour design. Likewise, the cinematography, camera movement and editing are also delivered very sharply. This lends the literary adaptation a cinematic pace, splendour and verve which I wholly enjoyed. Furthermore, the appealing cast are wrangled impressively too. Anya Taylor-Joy, as the energetic schemer Emma, is technically very gifted. She brings a metronomic pulse to the screen and her chemistry with Johnny Flynn really resonates. Flynn, who I really rate as an actor, imbued his character, Knightly, with both warmth and likeable fortitude. In supporting roles Bill Nighy brings his usual class to proceedings, while Josh O’Connor steals the early scenes with his hilarious turn as an eccentric young vicar.

Let’s be honest though, the story and characters are a bit of a lightweight soufflé that could collapse under close scrutiny. I mean we are really in first world problems throughout as Emma attempts to pair her young ward, portrayed by the lovely Mia Goth, with the vicar, only to find such attempts backfire, ultimately spiralling out of her control. As such one could find Emma quite annoying, immature and emotionally stunted. That, though, is where Austen’s strength of writing memorable characters really shines through. Because Emma is someone who, while potentially unlikeable, eventually learns her lesson and changes her controlling ways. Lastly, with a tremendously attractive cast and production, some mild complexity of character and finally Jane Austen’s singing wit and dialogue, Emma (2020), overall, offers a delectable frisson of escapist cinema.

Mark: 8 out of 11

FLEABAG – SEASONS 1 & 2 – BBC TV REVIEW

FLEABAG – SEASONS 1 & 2 – BBC TV REVIEW

Created and Written by: Phoebe Waller-Bridge

Directed by: Harry Bradbeer

Producers: Lydia Hampson, Sarah Hammond

Starring: Phoebe Waller-Bridge, Sian Clifford, Olivia Colman, Brett Gelman, Hugh Skinner, Bill Paterson, Jamie Demetriou, Jenny Rainsford, Hugh Dennis etc.

Composer: Isobel Waller-Bridge

Cinematography: Tony Miller, Laurie Rose

**MAY CONTAIN SPOILERS**

This melancholic, painful and chaotic home for middle-class grotesques and excruciatingly awkward comedy situations involving, Phoebe Waller-Bridge’s barely-surviving-human being-the-titular-‘Fleabag’, shouldn’t really work as entertainment. Yet, it does because of: brilliant writing, dark, honest humour, existential depth, almost-cinematic production values; genuine star quality from Waller-Bridge; and a cast on top of their game.

First-world-very-white yet universal human problems are legion in two seasons of twelve breathless episodes. We join our nameless anti-hero scraping through life in the midst of doubling grief, following the recent deaths of her mother and close friend/business partner. No doubt the chattering twenty-something classes are full with “I’m just like Fleabag!” recognition. Nonetheless, there’s something to enjoy for those who love to experience raw, human frailty on screen too.

‘Fleabag’ fights flailing moods, business and family issues in contemporary status-symbol London. Using sex to block out her pain in the first season, ‘Arsehole Guy’ and ‘Bus Rodent’ are two such crutch-like paramours who, along with on-off-ex-boyfriend, Harry, are given the physical and emotional run-around. In the less bawdy second season she falls for an uber-cool Catholic Priest (Andrew Scott). Thus, the lashings of sex from the first season gives way to more interesting abstinence and romantic torture for ‘Fleabag’.

With her best mate dead from a tragic accident ‘Fleabag’s’ sword and shield against life is gone and attempts at bridge-building with her family are fraught with strained agony. Her sister Claire (Sian Clifford), is tighter than a snare drum, existing solely on neurosis and a never-ending workaholic mission drive. The scenes between ‘Fleabag’ and her sister range from touching to hilarious to fractious dread. Meanwhile, their beta-male Father (Bill Paterson), is also grieving and a full-on emotional trainwreck. He finds himself a rabbit-in-the-headlights of Olivia Colman’s ‘Godmother’; a genius at passive aggressivity and unlikely arch-villain, quietly stealing the father away from his daughters.

Many hilarious and painful scenes play out around dinner tables, art exhibitions, parties, funerals, seminars, retreats and weddings. ‘Fleabag’ vainly attempts normality but understandbly fails. In addition to her family she also conflicts with other characters, notably Claire’s horrendous-alcoholic-overgrown-man-child-husband, Martin. I was genuinely shouting bile at the TV screen every time I saw him. Thankfully, Fleabag also features fine supporting roles from more likeable characters portrayed by the ultra-talented Fiona Shaw, Kristin Scott-Thomas and aforementioned Andrew Scott.

From Hancock to Steptoe and Son to Fawlty Towers to Blackadder to The Office to Spaced and to the most recent Gervais show After Life, British comedy has been replete with idiosyncratic and anti-heroic characters we root for. Indeed, it takes special writing and performances to get such shades of grey to work on stage and screen. Overall, Waller-Bridge takes familiar themes and situations and spins comedy and dramatic gold from them. Formally, she smashes the fourth wall with Brechtian direct address, welcoming us into her tumultuous reality, speaking to us and asking us to laugh and cry and love and hate and do what humans do: somehow just get through the day.

Season 1 – Mark: 9 out of 11

Season 2 – Mark: 9.5 out of 11