"The scenery of these hills is not grand-it is not romantic; it is scarcely striking. Long low moors, dark with heath, shut in little valleys, where a stream waters, here and there, a fringe of stunted copse. Mills and scattered cottages chase romance from these valleys; it is only higher up, deep in amongst the ridges of the moors, that Imagination can find rest for the sole of her foot:"
"Fennell's "Wuthering Heights" is drowned in visual excess. Scenes are made to revolve around matters of costuming, with skirts, corsets, and bustiers used as flamboyant and ham-handed markers of luxury or poverty, or internal torment, or social surrender, or romantic desperation. More confounding is the focus on rooms and interior spaces. Fennell's "Wuthering Heights" is trapped indoors by the director's evident infatuation with photogenic living spaces. There are grand rooms washed in garish hues and suffocating rooms"
Charlotte Brontë described Emily Brontë's love of the moors and the liberty and solitude they provided. She portrayed the moorland scenery as unromantic and scarcely striking, offering imagination a harsh refuge rather than delicate beauty. Emerald Fennell's film adaptation rejects that austerity, favoring visual excess, elaborate costuming, and interior spectacle. Costumes are deployed as overt symbols of class, emotion, and desire. The film emphasizes photogenic living spaces and saturated color palettes, trapping the narrative indoors. The adaptation's emphasis on ornamentation diminishes the moors' role as a source of liberty and solitary inspiration.
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