Richly textured ‘Wuthering Heights’ reinvents a dark classic

Wuthering Heights/2011/Oscilloscope Laboratories/128 min.

Kaya Scodelario plays older Cathy.

I often think of Scarlett O’Hara as the 19th Century prototype for a femme fatale. But I could just as easily make a case for Cathy Earnshaw, the willful, pragmatic and unconventional heroine of “Wuthering Heights,” Emily Brontë’s 1847 novel, set in the remote and mysterious English moors in the late 1700s.

Though lots of literature’s leading ladies (including Scarlett) have juggled two men on the sly, Cathy is completely up front in her decision to have her cake and eat it too. She will marry wealthy local landowner Edgar Linton in order to live in comfort and style. But she sees no reason to forsake her intimate friendship with Heathcliff, her treasured companion from childhood, a gypsy orphan whom her father adopts. So, she doesn’t.

And in some ways, the characters in “Wuthering Heights,” a strange, visceral love story that’s also a tale of revenge with an undercurrent of violence, prefigure some of the warped relationships we see 100 years later in film noir.

Solomon Glave and Shannon Beer play Heathcliff and Cathy as children.

Director Andrea Arnold’s version of what she calls “an unsettling, troubling book” is a spare, stark and unrelenting depiction of the dark classic. “I wanted to honor the essence of the book but give myself some room to explore and meander in their childhood,” said Arnold at a recent roundtable. “I try my best not to explain everything.”

Brontë’s novel has been adapted many times in many forms – most famously by William Wyler in 1939, with Sir Laurence Olivier and Merle Oberon, and in 1992 by Peter Kosminsky, starring Juliette Binoche and Ralph Fiennes. There’s also a Monty Python version called “The Semaphore Version of Wuthering Heights.”

In Arnold’s film, the young, madly devoted lovers are played by Shannon Beer and Solomon Glave. Kaya Scodelario and James Howson play the older Cathy and Heathcliff. Lee Shaw is particularly chilling as the abusive Hindley (Cathy’s brother). Beer, Glave and Howson make their acting debuts here. Says Arnold: “I have this fascination with authentic faces. I trust in cinema that a face can tell you things.”

This “Wuthering Heights” has minimal dialogue, no score, rough camerawork and a great deal of cruelty, to animals as well as people. Arnold makes the decision not to focus on exposition and thankfully avoids shaping the story to be “accessible.” Instead, with rugged images, rich textures and stinging performances, Arnold evokes a feeling of what life might have been like at that time – wild and brutal, isolated and tedious, and often short (Brontë died in 1848 at 30) – but also perhaps coolly purposeful and fiercely in the moment.

“Get over it, move on,” a modern audience might urge Heathcliff. But taking that attitude misses the point. In choosing to cling so stubbornly to the raw, singularly flawed passion he feels, he surrenders to the fact that its failure and triumph define him.

“Wuthering Heights” opens today at the Nuart Theatre in Los Angeles.

More Marilyn at the Cinematheque in Hollywood

Marilyn Monroe and Sir Laurence Olivier

The American Cinematheque will show a Marilyn Monroe double feature at 7:30 p.m. Sunday, Jan. 8, at the Egyptian Theatre in Hollywood. The movies are: 1957’s “The Prince and the Showgirl” (co-starring and directed by Sir Laurence Olivier) and Billy Wilder’s “Some Like It Hot” from 1959.

At 6:30 p.m., in the lobby, Susan Bernard will sign copies of her book, “Marilyn: Intimate Exposures.” The book consists of 125 photos by her father Bruno Bernard. The photos, ranging from 1946 to 1954, include 40 previously unpublished images. There will be a discussion between films with Susan Bernard.

Michelle Williams and Kenneth Branagh will appear at the Egyptian’s screening of “My Week with Marilyn,” directed by Simon Curtis, 7 p.m. Wednesday, Jan. 11.

General admission is $11; members pay $7. The Egyptian is at 6712 Hollywood Blvd.

The Marilyn Chronicles at Chicago film fest

Chicago saw the installation this summer of a 26-foot-tall tacky statue of Marilyn Monroe by J. Seward Johnson, so maybe it’s fitting that the city’s film fest hosted two Marilyn flicks, both much more elegant than the gargantuan “Seven Year Itch” tribute.
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Simon Curtis’ “My Week with Marilyn” (UK) offers a glimpse into a brief period in the troubled actress’ life: her 1956 trip to London to shoot “The Prince and the Show Girl” in which she co-starred with Sir Laurence Olivier.
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The source material is “The Prince, the Showgirl and Me,” a memoir by Colin Clark, an assistant director on the film and son of art historian Sir Kenneth Clark (of “Civilisation” fame). Curtis brings the memoir to life with sumptuous cinematography and spellbinding, Oscar-worthy performances from Michelle Williams as Marilyn, Kenneth Branagh as Olivier and Eddie Redmayne as Colin Clark.
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“MWWM” also explores profound changes in the world of film acting as the Stanislavski/Method school took hold of Hollywood and clashed with British style, still deeply rooted in stage tradition.

"Nobody Else But You"

Darkly funny, quirky and delightful to watch was the story of a modern-day Marilyn, “Nobody Else But You,” by Gérald Hustache-Mathieu. Sophie Quinton plays Candice Lecoeur, a luscious weathergirl in a remote French village whose life oddly parallels Marilyn’s and in a “Laura”-like way becomes the focus of a murder mystery.

Hustache-Mathieu’s most brilliant achievement is the unlikely mix of disparate mood and tone – farce, black humor, drama – fluidly, splendidly coming together. The audience loved it and high-energy Hustache-Mathieu was humbly charming at the post-screening Q&A.
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In writer/director Julia Leigh’s erotic reworking of the fairy tale “Sleeping Beauty” (Australia) we meet another stunning blonde: Emily Browning as Lucy, a desperate college student using her looks to make a living in the sex industry. Though I admired Browning’s performance, the movie was disappointingly sluggish and dull.
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Tomorrow: More highlights from the fest