Heathcliffe (Solomon Glave) and Cathy (Shannon Beer) explore forbidden love in new version of classic novel (photo by Agatha Nitecka)
WUTHERING HEIGHTS (Andrea Arnold, 2011)
IndieScreen
285 Kent Ave. at South Second St.
November 23-29
347-227-8030
www.indiescreen.us
www.oscilloscope.net
Digging deep into Emily Brontё’s classic — and only — novel, writer-director Andrea Arnold creates a radically different Wuthering Heights from such previous versions starring Laurence Olivier and Merle Oberon (1939), Keith Michell and Claire Bloom (1962), and Ralph Fiennes and Juliette Binoche (1992). Setting the bar high following her exceptional first two films, Red Road and Fish Tank, Arnold’s Wuthering Heights is told from the point of view of a black Heathcliffe, played as a teenager by Solomon Glave and an adult by James Howson, both of whom make their acting debut in the film. Although Cathy (newcomer Shannon Beer, then Kaya Scodelario) takes a nearly instant liking to the poor Heathcliffe, who has been brought in off the streets by her father, Earnshaw (Paul Hilton), her brother, Hindley (Lee Shaw), treats Heathcliffe like a slave, continually beating him and shouting racial epithets at him. Heathcliffe and Cathy try to take advantage of their every stolen moment together by wandering across the Yorkshire moors, but when he learns that she is considering marrying Edgar (Jonathan Powell, then James Northcote), Heathcliffe disappears, only to return later a changed man with a new mission.
Working with Oscar-nominated screenwriter Olivia Hetreed (Girl with a Pearl Earring), Arnold streamlines Wuthering Heights down to its bare emotions, eschewing an epic costume drama in favor of a more intimate story that is often more faithful to the book. Shot by Robbie Ryan, who won the Best Cinematography award at the 2011 Venice Film Festival, Wuthering Heights has a look that is dark and captivating, focusing more on character than period dress and sweeping locations. Unfortunately, however, Heathcliffe is significantly lacking in character; his younger self, in particular, broods about, rarely speaking, letting things happen to him and not fighting back. He might be in a precarious situation, but his continued silence grows tired fast, detracting from the overall impact of the film, a shortcoming that is nearly overridden by Beer’s more energetic and interesting Cathy. This might not be a Wuthering Heights for the ages, but it most certainly is a fascinating version of a familiar, sometimes misunderstood classic romantic drama. Following its theatrical release last month at Film Forum, Wuthering Heights is moving to Brooklyn for a week-long run at IndieScreen.