Name: Book vs. Movie: Emma (1996, 1997, 2009, 2020)
Uploaded: 2020-04-21T13:26:40.000Z
Duration: 8 min 3 s
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Jane Austen's fourth novel, Emma, is noteworthy for its distinctive style and character development.

First published in three volumes in 1815, Emma revolves around social status and marriage

in a subtle satirization of English  high society mores.

Contrary to Austen's belief about her unlikable heroine,

Emma Woodhouse has been a beloved literary character for generations.

There have been over a dozen adaptations of Emma, from musicals to modern-day reimaginings,

so today, we'll take a look at four of the more recent traditional adaptations

"Very dull in fact, I should be sure to say three very dull things as soon as I open my mouth, shan't I?"

"I'm sure I never fail to say things very dull."

"Yes dear, but you will be limited as to number,  only three."

The '90s saw an increase in productions inspired by Jane Austen's works,

including this theatrical film adaptation of Emma released in 1996.

The picturesque visual effects enhance the fairy-tale aspect of the film,

with the eponymous character herself  glowing in each scene.

Although most of the plot remains intact, the film does not stress absolute fidelity

For instance, Harriet, described as pretty and good-tempered, lacks confidence,

but the film seems to emphasize her unsophistication

and depicts her as a one-dimensional contributor to Emma's development.

"Miss Woodhouse, do talk and make me comfortable again!"

"I suppose this would not be the right time to mention that Mr Elton was engaged."

This adaptation updates the tone of the narrative,

imbuing more romance into the dialogue and action.

The archery scene adds further symbolism  to Emma and Knightley's discussion

Jane Austen's use of free indirect discourse as a narrative device

enables us to empathize with Emma  through her point of view

while also establishing an emotional distance.

The film endeavors to achieve the same ends through various letter writing scenes

that reveal Emma's self-deluded thinking.

With its romantic and comedic take on the perfectly imperfect heroine

this adaptation of Emma aims to capture the hearts of the audience.

"I shall be sure to say three very dull things as soon as ever I open my mouth, shan't I?

"But there may be a difficulty for you, Miss Bates.

You'll be limited as to number--only three at once."

Towards the end of 1996,  a television film version of Emma

Filmed on a smaller scale, this adaptation presents a more believable look at the characters

inhabiting Highbury, with reminders of the era's class divisions scattered throughout.

Scenes of the servants and lower classes  provide social context

all the while still minimizingthe mention of poverty.

What also sets this adaptation apart are the scenes that bring Emma's fantasies to life.

The film's dream sequences add an imaginative touch and reveal her romantically naive nature.

The focus on conveying psychological nuance

allows us to get a fuller picture of Emma's personality

and how she matures with compassion and kindness.

Viewers are able to see the social cues  that Emma misses,

emphasizing how appearances can be deceiving in such a well-mannered society.

In this version, Emma not only undergoes a self-transformation

but also becomes socially conscious in an invented harvest supper at the end of the film.

"And I hope that you will come and visit us soon at Hartfield,

with your sister, of course, and Miss Smith."

Nonetheless, this version takes care to include small details of etiquette

that are crucial to defining the environment of the time,

resulting in an understated adaptation of this well-loved novel.

"Well then, I shall do very well at your game,  Miss Woodhouse,

That would be tailor-made for me, you know,

I can be relied upon to say three dull things as soon as I open my mouth, shan't I?"

You will be limited as to number--only three at once."

This four-part BBC TV series was created with  the contemporary audience in mind,

to the extent that the adaptation attempts to be simultaneously modern

The result is an energetic retelling  that eschews the rules

The adaptation starts off with a Dickensian montage,

replacing Austen's famous first line with a mournful omniscient narrator.

Rather than meeting Emma as a carefree young woman,

the viewer sees the unfortunate events that link Emma, Jane Fairfax, and Frank Churchill

In doing so, we see more of Emma as a spoiled, self-centered child

who grows into a willful and mischievous  young woman.

Additional scenes and dialogue are used for these extended backstories

and to further flesh out secondary and minor characters.

"I congratulate you on your choice."  "Harriet."

This vision of Emma focuses on demonstrating the relatability of this 200-year-old story

The way that the characters act and speak, despite their surroundings,

prompt us to see them through a modern lens.

I shall be sure to say three dull things as soon as I open my mouth."

"Ah, now there is the difficulty. When have you stop at three?"

The bold, highly aestheticised look of the film uses delectable backdrops

and a playful musical score to create its own heightened world.

Remaining largely faithful to the original source material,

the film leaves sections of the dialogue untouched

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Book vs. Movie: Emma (1996, 1997, 2009, 2020)

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