When I saw the previews for this latest interpretation of Jane Austen’s Emma, I envisioned a reimagining of the classic, with the plot or the setting radically changed with creative license applied liberally throughout. I was ready to not like it.
But instead I discovered that wondrous creativity was launched to make small tweaks to details. There was Harriet Smith, who may have been plain, but marching here and there with her classmates, dressed in matching red dresses and large hats, providing a very striking Image for the eye. There were the chorale music resonating at the end of scenes, leading to or melding into the beginning of the next scene. And Bill Nighy, who was suitably wary of illness and draughts, but had a spring in his step at times to juxtapose with his fearfully cautious nature.
I thought Rupert Graves and Miranda Hart were imaginative choices for the roles of Mr. Weston and Miss Bates. And there is even an creative tweak to the one-word title, whereby a period is added after the name to indicate that the movie is - wait for it - a period piece.
So this is the third version of Emma in the past 25 years - two movies and a mini-series - and for now at least, it is my favorite.