Thoughtful and emotional from the start, director Sophie Barthes’ “Madame Bovary” is a radical adaptation of Gustave Flaubert’s 1856 novel, adapting Emma Bovary’s story for the poverty and misery. Emma is here by Mia Wasikowska, who married a country doctor and ended her life through a series of crimes, actions and crimes in negligence, head and constant search for something more.
Edited by Barthes and Felipe Marino, this film takes apart all the elements of Flaubert’s novel – the children, the characters, the characters – and condenses Emma’s story from the years to something that is months, trying to turn the story into an accurate portrayal of Emma’s suffering. starting at the end of the story and then showing us how things got to that dead end. But one of the biggest problems with this version of “Madame Bovary” is that it’s just a slog — not elevated by the gothic spookiness of a “Jane Eyre” or the swooning romanticism of a “Wuthering Heights,” but it’s kind of dangerous. The decisions are motivated by a dull, sweet woman who wants to feel something, anything, outside of the obligations and traditions of her time.
If Barthes and Wasikowska, to borrow a word from pro wrestling, have made this kind of story a “heel turn” – which is about Emma not only doing wrong but doing so with pleasure, with joy, as a promise in time. at a time when women were not allowed to express themselves or be themselves – the film is perfect for our time and Wasikowska’s talents. But Emma is here to worry and wait and do more terrible things, nothing better. (Here, Emma doesn’t feel like a different character and more like a gender-swapped version of Don Draper: she just wants things to start, if things are new and no longer.)
Henry Lloyd-Hughes plays Charles Bovary, the doctor that Emma marries, and he’s just plain stupid; her humble life was less than Emma wanted. In the book, Emma’s passion and desire are largely driven by her love of romance novels; here, that sense of humor is captured by the atmosphere’s anger and Wasikowska’s images are sad or, for different reasons, even sadder. In Cary Fukunaga’s “Jane Eyre,” Wasikowska has a passion and a mystery that drives her; here, it’s Emma, who faces challenges that are, at best, self-inflicted. It’s a shame; Wasikowska is a good and good artist, but she can be held back by people who have no idea or who are just as good as friends. Paul Giamatti adds an appropriate growth and charm as the unctuous Homais, but Ezra Miller and Logan Marshall-Green are too low-key and too modern to make much of an impression as such. with Emma’s lovers, whether it’s a struggling lawyer (Miller) or a royal. Marshall-Green).
Andrij Parekh’s cinematography is a high point – hand-held images create a sense of being in this world, and although the light is diffuse and dim in each frame, there is; Darkness does not come for beauty. Rhys Ifans – aging into a fine and eccentric actor – is also a standout as Monsieur Lheureux, a clothier and cook who can supply Emma with all the glitter and glamour. need to improve his life and more desire. increase his debt. He is seductive and easy, but when the bill comes, he loses much of his air of affability.
The settings and settings are beautiful; Fashion designers Christian Gasc and Valerie Ranchoux create clothes that are natural but bright, accessible and beautiful, reflecting the products of the 19th-century world while showing that there is much more price. Barthes first directed “Cold Souls,” which acts as a zippy, meta-modern riff on the genre set in Manhattan but inspired by the short story writer’s 19th-century work Russian Nikolai Gogol, turning familiar themes into new problems. and capture the dry and fun effect.
When you watch “Madame Bovary,” you wish that Barthes had done something, something with Flaubert’s novel before printing it on the screen. ancient; There is something difficult and stable at the center of Flaubert’s novel about the desire and the desire to be able to speak to the modern public, but it is lost here for the journey more little of Wasikowska from the comfort of the accident.