Wuthering Heights is one of my all-time favorite works of art. Emily Brontë’s 19th Century novel is a shockingly horrific read for anyone who’s ever been assigned it in a high school or college-level literature course, expecting it to be a melodramatic romance (matched only in its homework-assignment shock value by her sister’s novel Jane Eyre). Wuthering Heights is not a traditionally tragic love affair; it imagines romantic attraction as a form of life-destroying doom that compels all involved to viciously tear each other apart out of the insatiable hunger of yearning, never to be satisfied through physical touch. It should be no surprise, then, that the latest, loudest adaptation of that novel would receive equally loud criticism for the ways it reduces its source text to a more familiar, better-behaved romance, as if it were a dime store paperback instead of a great work of Gothic lit. Personally, I can’t conjure the energy to care. To my knowledge, no movie version of Wuthering Heights to date has approached anything near faithful adaptation. They tend to leave the business of adapting the novel’s second half—in which a second generation of interfamilial combatants continue the first half’s vicious games of yearning & revenge—to be retold only via BBC miniseries, which are too tonally genteel to convey the full, feral nature of the source text. So far, what we’ve seen is a story dutifully half-told, with no real personal imposition on the text by the filmmakers behind the camera (besides maybe Andrea Arnold’s race-conscious adaptation from the 2010s, which gets specific in conveying the novel’s themes of “otherness,” usually left more vaguely defined). They tend to be more transcriptive than interpretive. So, I find myself in the embarrassing position of being impressed by the crassly unfaithful adaptation of one my favorite novels for at least engaging with the material in a transformative way, even if it’s more deimagined than reimagined. “Death of the author” means allowing our sacred texts to become entirely new beasts in afterlife.

Despite all the prepackaged backlash, “Wuthering Heights” proved to be another erratically entertaining piece of lurid pop art from Emerald Fennell, whose previous works Saltburn & Promising Young Woman were also loudly scrutinized in their own time for their thematic carelessness. Fennell appears eager to get ahead of the criticism in this case, adding the titular scare quotes in an effort to defuse any expectations that she might be sincerely adapting Brontë’s novel. Every image is prefaced with a wink, signaling to the audience that it’s okay to have fun this time instead of getting too hung up on Heathcliff & Catherine’s recursively lethal, semi-incestuous attraction to each other. It’s not so much an adaptation of Wuthering Heights as it is an adaptation of the horned-up dreams a teenager might have while reading Wuthering Heights — often illustrated in fancam-style montages that insert bodice-ripping sex scenes into a story that used to be about the destructive nature of unconsummated lust. Jacob Elordi & Margot Robbie are cast more for their paperback-romance cover art appeal than their appropriateness for the source material. Charli XCX is employed to soundtrack the music video rhythms of the edit to rush the story along before the discomfort of any one cruel moment has time to fully sink in. Even when destroying other women’s lives in order to get Catherine’s attention, Heathcliff seeks enthusiastic consent, turning what used to be domestic abuse into a kind of elaborate BDSM game. It’s all in good fun (give or take the obligatory tragic ending), staged entirely for the purpose of hiring movie stars to play dress-up and dry hump, supplementing the wet sounds of actual sex with bizarrely chosen surrogates like fish heads, snail slime, egg yolks, and raw dough. As goofy & half-considered as it is, it’s also Emerald Fennell’s best work to date. She continues to improve as a populist entertainer with every picture, but she has also suffered the great misfortune of being immediately successful, so everything she does is met with obnoxiously loud scrutiny. Hopefully all of her generational wealth serves as a small comfort in this difficult time.

The same week that Wuthering Heights topped the US box office (proving yet again that online backlash has no tangible effect outside your Twitter feed), I saw another domestic release of an unfaithful literary mutation. The new anime film Scarlet restages Hamlet as a sword-and-sorcery fantasy epic in a Hell-adjacent afterlife, seemingly combining the characters of Hamlet & Ophelia into one newly imagined, feminist action hero. I’m no Shakespeare scholar but, like Wuthering Heights, Hamlet does fall into the category of great literary works I was assigned to read multiple times throughout high school & college, and I don’t remember the bard describing the young Dane being groped by countless hands of the undead under a sky of black ocean waves in his stage directions. By the time Scarlet interjects a title card that drags the story back to 16th Century Denmark, I couldn’t help but treat it as a visual gag. I laughed, but I was the only one laughing in that theater, because I was the only one in the theater at all. Director Mamoru Hosoda is relatively well known among anime nerds for earlier works like Summer Wars, Wolf Children, and The Girl Who Leapt Through Time, but recently he’s been on a kick where he reinterprets literary classics as high-fantasy adventure films featuring heroic warrior princesses. With Belle, he relocated characters from Beauty and the Beast to a Virtual Reality other-realm where violence & power is wielded through pop songstress supremacy and it online follower counts. With Scarlet, he reinterprets Hamlet as a warrior princess saga about the value of forgiving yourself instead of seeking revenge, set in a timeless afterlife where the souls of 16th Century nobility can fall in love with 21st Century hunks who have working-class jobs but angelically noble hearts. Unlike with “Wuthering Heights”, no one appears to be especially angry about these far-out reinterpretations of their source texts, likely for two very obvious reasons: 1. Hamlet & La Belle et La Bête have already enjoyed multiple faithful movie adaptations while Brontë’s novel hasn’t and, more importantly, 2. Way fewer people are watching them.

As of this posting, roughly 9,000 people have logged Hosoda’s unfaithful Hamlet mutation on Letterboxd, compared to the 570,000 who have logged Fennell’s unfaithful mutation of Wuthering Heights. That’s an imperfect metric when measuring these two films’ audience reach (not least of all because “Wuthering Heights” has been review-bombed by angry social media addicts who haven’t yet seen the film themselves), but those two numbers are extremely disparate enough to mean something. Some people are mad at Emerald Fennell for not adhering to one specific interpretation of Brontë’s book as if it is the only objectively correct one (i.e., the Arnold-friendly interpretation in which Heathcliff’s otherness is based more in race than class). Others are mad at her for having no interpretation at all, using a half-remembered impression of what the book is kinda-sorta like as an excuse to stage a series of images that make her horny. I find both criticisms to be misguided. No movie owes fealty to it literary source text; all that matters is the distinctness of the vision that literature inspired. For all of her consistently reckless flippancy, Fennell’s vision gets increasingly distinct every picture. We’re also getting a clearer picture of what she personally finds erotic, which I’d argue is one of the best uses of the cinematic artform any director can pursue. Forget using the art of moviemaking as a machine that generates empathy; it’s much more useful as a window into the unresolved psychosexual issues of artists who don’t know how to effectively express themselves through any other medium. In Fennell’s case, that window appears to be attached to a candy-coated dollhouse with an immature brat trapped inside, which she expresses here by re-working Catherine into an indecisive woman-child who suffers through attempts to have her cake and eat it too. She even employed the official mascot of Brat culture to sing on the soundtrack, continuously underlining the point. While prettier to look at and grander in scale, I don’t know that Hosoda’s films are useful as a window into anything especially personal about his hang-ups or worldview. The images are more pleasant and the ideas are more carefully thought out, but to what end? Maybe the other obvious reason that fewer people are talking about them is because there’s just not as much to say.

-Brandon Ledet