Wuthering Heights is at its heart a story of class and race. Emerald Fennell has got it all wrong | Rhiannon Lucy Cosslett

Tue, 17 Feb 2026

By turning the novel into just a corset-heaving love story, the director has stripped it of what made it so boundary-pushing

It’s difficult, when watching Emerald Fennell’s “Wuthering Heights”, not to imagine what Emily Brontë would have made of it. Before I get into it, I feel obliged to state that although I love the book I am not a purist. I often relish creative reinterpretations of classics. Admittedly, this one came with a fair few red flags, from the casting of Margot Robbie (simply too old, Cathy is a teenager) and Jacob Elordi (simply too white, Heathcliff, while his origins are uncertain, is described as darker skinned) to the unhinged marketing and crass brand tie-ins.

Nevertheless, I was still excited to see it. So why did I leave the cinema not only bored, but feeling a little bit sad? Fennell said she wanted to make the film she imagined at 14, the age at which many of us read the novel in English class. Fennell focuses almost entirely on the “love story” at the expense of almost all of the novel’s other themes. Of course, if you’re a teenager in love, the doomed connection between Cathy and Heathcliff does captivate, although as an abuser who hangs a dog, Heathcliff is not exactly fanciable. I do understand the impulse behind Fennell’s fan-fictiony desire to have them consummate their love, when Brontë, who probably never touched a man her entire life, left all that desire unrealised. Horniness at the expense of all else, however, can feel terribly hollow.

Rhiannon Lucy Cosslett is a Guardian columnist

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