Romola Garai portrays Emma to near perfection: youthful, smiling, vain, open-tempered and playful. The natural relationship between her and Mr. Knightley was so well done I cannot help but admire the actors' unabashed characterisation of two people who I don't believe were ever meant to be glamorous - but real and flawed and nevertheless endearing.
For those who argue that Romola Garai's Emma is too expressive, casual, unladylike etc. I'm afraid you should do a little more research into the times. Firstly, as an independent woman of ample means, her behaviour would have been regarded as unusual - at most - but not unacceptable or scandalous. Even 'eccentric' behaviour in rich people was accepted in Victorian England - BECAUSE they were rich! The middle classes did not have as much wealth, and therefore had to concentrate more on correct manners as a way to gain notice and status in society. It was not unheard of for some wealthy ladies to behave 'as they liked' e.g. have a frank and forthright manner, ride/walk alone, wear unfashionable dresses (compare Emma's over-simple dress to Mrs. Elton's Wedding Cake and lace confections!). And I would recommend that in any time period the diversity of personalities should allow for an Emma such as the one of Romola Garai's portrayal.
This version of Emma discards cardboard cut-out stiff upper lip acting for vibrancy, life and authenticity. It remains true to the spirit of the book so lovers of Emma should be well satisfied that their favourite scenes from the book are adapted smoothly and enjoyably. I was highly gratified to see natural people on screen with real reasons for what they did (forgive me, but Gwyneth Paltrow's 1996 Emma I recently viewed again and was nearly put off by the stiff jointed stiff paced affected script and acting).
I really felt keenly for Miss Bates and for Emma's father, as opposed to finding them (as they have been interpreted in the past) one dimensional, annoying and almost superfluous characters.
And I was very taken, I who have read Emma more times than I can remember, that this version highlighted something that was new even to me. The Loneliness of the characters. There was a running theme of loneliness that was deftly threaded through the script: Miss Bates' loneliness as she cares for a silent mother in increasing poverty; Emma's loneliness after Miss Taylor leaves her to marry Mr Western, that drives her to seek Harriet as a friend; not to mention the more obvious loneliness of Jane Fairfax, who must remain reserved in the presence of Frank Churchill, and who could easily have been friends with Emma, but cannot bring herself to share her secret to a woman who is so apparently a rival for his affections.
This version is by far the best I have ever seen. I am always partial to Mark Strong's Mr Knightley in the Kate Beckinsale version, but overall the script, casting, characterisation and pacing of this Emma surpasses all.
For those who argue that Romola Garai's Emma is too expressive, casual, unladylike etc. I'm afraid you should do a little more research into the times. Firstly, as an independent woman of ample means, her behaviour would have been regarded as unusual - at most - but not unacceptable or scandalous. Even 'eccentric' behaviour in rich people was accepted in Victorian England - BECAUSE they were rich! The middle classes did not have as much wealth, and therefore had to concentrate more on correct manners as a way to gain notice and status in society. It was not unheard of for some wealthy ladies to behave 'as they liked' e.g. have a frank and forthright manner, ride/walk alone, wear unfashionable dresses (compare Emma's over-simple dress to Mrs. Elton's Wedding Cake and lace confections!). And I would recommend that in any time period the diversity of personalities should allow for an Emma such as the one of Romola Garai's portrayal.
This version of Emma discards cardboard cut-out stiff upper lip acting for vibrancy, life and authenticity. It remains true to the spirit of the book so lovers of Emma should be well satisfied that their favourite scenes from the book are adapted smoothly and enjoyably. I was highly gratified to see natural people on screen with real reasons for what they did (forgive me, but Gwyneth Paltrow's 1996 Emma I recently viewed again and was nearly put off by the stiff jointed stiff paced affected script and acting).
I really felt keenly for Miss Bates and for Emma's father, as opposed to finding them (as they have been interpreted in the past) one dimensional, annoying and almost superfluous characters.
And I was very taken, I who have read Emma more times than I can remember, that this version highlighted something that was new even to me. The Loneliness of the characters. There was a running theme of loneliness that was deftly threaded through the script: Miss Bates' loneliness as she cares for a silent mother in increasing poverty; Emma's loneliness after Miss Taylor leaves her to marry Mr Western, that drives her to seek Harriet as a friend; not to mention the more obvious loneliness of Jane Fairfax, who must remain reserved in the presence of Frank Churchill, and who could easily have been friends with Emma, but cannot bring herself to share her secret to a woman who is so apparently a rival for his affections.
This version is by far the best I have ever seen. I am always partial to Mark Strong's Mr Knightley in the Kate Beckinsale version, but overall the script, casting, characterisation and pacing of this Emma surpasses all.