How Old Is Emma In Emma

Jane Austen's beloved 1815 classic Emma is saddled with some serious 19th-century baggage: namely, that the romance at its heart pairs the fresh-faced, 21-year-old titular protagonist with a gentleman 16 years her senior, with all the power imbalances attendant to both their age gap and the gender norms of the era. For the new movie adaptation (stylized as Emma.), the solution to this is fairly simple: cast the lovable Johnny Flynn as the male lead, mostly ignore their ages altogether and add human moments of flesh and passion to Emma Woodhouse and George Knightley's story, turning the romantic interest's paternalistic tendencies on the page into something a little more palatable for a 2020 audience sick of mansplaining. At least, that's how director Autumn de Wilde and screenwriter Eleanor Catton approached the challenge in their colorful, witty take on Austen's novel. Emma - like all of the author's best-known books - is a comedy about love, a Shakespearean maze of relationships and miscommunications that, in the end, get tied up neatly with velvet ribbons. Ahead of its time, it features a complex female character and centers women's interior lives, turning the seemingly mundane (everyday romantic dalliances) into the monumental (the struggle to survive during a time with limited options).

But he tempers his critiques with a superficial compliment: "I love to look at her.

Franky The new Emma., starring a doe-eyed Anya Taylor-Joy opposite the scruffy, earthy Flynn as Knightley, hews closely to the original's staid social norms, costume finery, decadent country estate settings and period-specific dialogue. It's funny and fresh (see: flashes of nudity; Bill Nighy's pitch-perfect comedy beats; a sugary, meticulous aesthetic that lands somewhere between Wes Anderson tweeness and Sofia Coppola's Marie Antoinette) - though Clueless it is not. Yet in a sly move, de Wilde and Catton update the romantic relationship at the center of the story, turning Knightley from a safe - but questionably older - choice into a more appealing object of affection. When we meet the gentleman Knightley on the page, it's as Emma's older brother-in-law and neighbor. We learn early on about their significant age gap, and that their relationship has an unequal power dynamic, exemplified by Knightley's gentle admonishments of Emma's behavior. In conversations with others about Emma, ​​Knightley remains astute but cool, telling her friend Mrs. Weston of the faults he finds: "She will never submit to anything requiring industry and patience," he laments. But he tempers his critiques with a superficial compliment: "I love to look at her. " In Austen's world, disparities of age and power between potential matches were par for the course; women were ushered at young ages into the safety of matrimony, the goal ultimately to match with the wealthiest possible future husband and protector. Back then, with few options to earn income for themselves, this was necessary for survival.

39;s Emma snaps right back.

Today, however, this reads as antiquated, if not a little creepy. As for Knightley? His conversion from Emma's mentor to her lover is slow and subtle; he grooms Emma into a better person with advice and criticism handed down from a superior. Patriarchal love is embedded in the story, even if Austen makes sure that Knightley learns some lessons by the end, too. But de Wilde's take on the characters offers something both spicier and more equal, particularly in softening the characterization of Knightley. In one early scene, Flynn strips down to complete nudity while changing clothes, a moment of bodily vulnerability never seen in Austen's writing. In interviews, de Wilde has explained her desire to flip the script a bit on period pieces that traditionally objectify the female form. In another scene, he flings himself to the floor of his lavish, empty estate, helplessly exhausted and lovelorn, a peek into his emotional state which the novel doesn't offer. And when he chastises Emma for cruelly making fun of a friend, he does so fervently. "It was badly done, Emma," he explodes at her, raising his voice. The quote is nearly the same on the page, but it's said as part of a longer and more measured monologue. Flynn's delivery transforms its meaning, from a moral lesson into a moment of justified passion. Taylor-Joy's Emma snaps right back. English gentry aren't known for their displays of emotion, especially in the sedated world of Austen, so there's something shockingly modern about their exchange.

39;d rather not be, and he apologizes for it.

Later, there's even that big Regency-era transgression: a kiss. It helps that Flynn, best known to US audiences for playing the eternally jilted main character in the Netflix rom-com series Lovesick, Knightley channels with a kind of boyish intensity. The lessons he tries to impart to Emma - about refraining from meddling, about the realities and responsibilities of social class, about kindness - are not delivered with tact, but with real emotion, often clumsily. Crucially, his character's age - and their age difference - is elided onscreen, leaving us to draw our own conclusions about their appropriateness for each other. The result: a worthy pairing, the kind contemporary audiences can root for instead of feel conflicted about. Flynn has admitted in interviews that Knightley is a bit of a "mansplainer. " But he tried to play it from a less didactic - and more romantic - angle. "What I like is that he's tortured about it," he told the Radio Times, "and he'd rather not be, and he apologizes for it. Emma has been adapted at least a dozen times for film and TV.

The most recent movie adaptation came out in 1996, starring a fresh-faced Gwyneth Paltrow as Emma and the refined Jeremy Northam as Knightley. They play their parts with tenderness and respect; their partnership is a foregone conclusion that only they cannot see, and Paltrow imbues Emma with a sweetness that Taylor-Joy exchanges for coyness. Paltrow's Emma is a little too full of herself, but ultimately young, guileless and good-hearted; Taylor-Joy's Emma, ​​meanwhile, is a little too aware of her power and position, consciously using her femininity and status to get what she wants. By drawing out the pricklier and more complex character that Austen originally wrote, de Wilde confirms her potency as a woman in charge of her destiny. In fact, this movie's read on Emma is a little more in line with what goes down in the original Austen - and in Clueless, Amy Heckerling's 1995 masterpiece that catapults the character through space and time, rendering her as a modern Valley Girl.

Emma is one of Austen's most acerbic stories: she calls her protagonist "handsome, clever, and rich, with a comfortable home and happy disposition" who "seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her." You can read this as an endorsement, but you can also pick up on it is deadly-dry humor, which both Heckerling and de Wilde latch onto in their renditions. Alicia Silverstone's Cher and Taylor-Joy's Emma share a vanity and self-assuredness that make them both masterminds and subjects of the joke - but never passive players. That part of Emma, ​​at least, never needed a modernization. Updating the sexual politics and power dynamics of old stories for new audiences is hardly a new concept. Greta Gerwig did it in Little Women, doubling down on the economic considerations of single women in the 19th century and redrawing Jo March's ultimate match into one who's more appealing to romantics and feminists alike. 10 Things I Hate About You, released in 1999, remixed Shakespeare's The Taming of the Shrew, with Julia Stiles in fine feminist form. And it's not just heroines of yesteryear who have gotten a 21st century revision, but also characters introduced more recently - thanks to Hollywood's reliance on preexisting IP, they're revisited more than ever.

39;s stories need too much brushing up.

Adaptations like Hulu's teen drama Looking for Alaska, based on John Green's 2015 young adult novel, gave its lead more agency. Even female superheroes (and antiheroes) have gotten revamped; Harley Quinn, who debuted in 1992, traded in her stilettos for more practical sneakers in this year's Birds of Prey. After years of demanding more equality onscreen we are - finally - starting to see it more regularly. Not that Austen's stories need too much brushing up. They've always been about women finding their way in the world, bristling against the pressures of female perfection. In Austen's slice of 1815 society, that meant something very different than it does today. But a few things really are universal across the centuries, from the original to its many retellings: Emma always says she isn't looking for love, but in the end, she finds one anyway. In the new Emma., she also gets an equal.

Mia described her as someone who can confidently express her thoughts and feelings.

Scott Shelly ( Hangul:셸리 ) is one of the female protagonists in the webtoon. She begins a one-sided relationship with Jay at the start of the series but as the story progress they have a mutual crush on each other and as of chapter 378 they are in a relationship. Shelly is the only female member of the Humming Bird Crew. Because she stayed at England before coming to Korea her personality is perceived as very headstrong. She does not like it when people talk badly about her friends, especially Jay. Shelly also has a lot of stamina and strength, she can keep up with the group's pace when racing and can actually send people flying with her punch (Although that may be for comedic reasons) but never got into the street fights with the guys of the crew. When she was hit on in her first appearance on the series she refused with a lot of sass. Mia described her as someone who can confidently express her thoughts and feelings. Although her words are harsh, it is because she never sugar coated her words with her friends. And with Jay, Shelly is very clingy and flirtatious. She has very foreign features: pale skin, her eyes actually look more mint green in color than blue, blond wavy hair. It is known later in the series that she has a tattoo in the side of her arm near the wrist that reads out "temet nosce" or "Know Thyself". At school she wears her uniform usually without the red vest and both wears the skirt and pants.

She is often seen wearing high-end brand clothing, but also occasionally wearing street wear and tomboyish clothes. When riding her bike, she usually wears a jacket and helmet with the same color as her eyes or the Hummingbird crew's hood. She is tall, with long thin legs, a small waist and a bigger bust. Not much is known about Shelly, but it is established that she is from England and she requested to transfer to Sunny High School because of Jay. It was told in an early episode (Ep. 27) that she will be in Korea for one semester. Shelly is the granddaughter of Sunny High School's principal, Nick. When Shelly was a kid, she didn't want to get married and promised Nick that she will just live with him forever, which caused Nick to think that Shelly is not interested to guys until she got interested in Jay. That also caused the over protectiveness of her grandfather. Jay saw what happened and chased the thieves to get her purse back. She refused on taking him to the hospital but Jay refused. She picked up his student ID that had fallen to the ground and, motivated by her encounter with Jay, called her grandfather, asking him to let her attend Sunny High School. Her second meeting with Jay was in their classroom. She kissed him out of the blue and the gossip that Shelly and Jay were in a relationship quickly spread around the school.

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