Les Hauts de Hurlevent

After all these impressive reviews, there is not much else for me to say except that, on the whole, this film worked for me. The screenplay was very good and at times even excellent, although I would not put it in the same league as "Dangerous Liaisons". The film was visually a masterpiece, capturing essential decadence in its set and on location in Yorkshire.

Supporting cast were notable, particularly Janet McTeer and Simon Shepherd, who was very touching at times, especially with young Catherine. However, the film's quality came from the amazing performance of Ralph Fiennes whose sexual magnetism and intensity stole the screen. Indeed, without Fiennes, the film would have been too under-rated and even slow. Whilst Fiennes exploded in scenes such as breaking into the chapel, I found Binoche very stilted in her "emotional" scenes. At times, she over-acted whilst at others she lacked any expression at all. This made her character quite difficult to understand and I found it hard to imagine how the brooding, precarious Heathcliff could be so infatuated with her. She killed any sense of sexual tension and her acting seemed out of keeping with the others'.

Having said that, the film managed to develop the theme of love/hate with extreme ferocity. It portrayed how love can evoke pity and repulsion, blending passion with destruction, and life with death. Such contrasts effectively convey the eternal dichotomy of human love.

Having been fascinated by the Brontes for several years and growing up in Yorkshire, I've longed to see a faithful adaptation of Wuthering Heights for a long time. Why it's taken me so long to see this version I don't know!

I just watched this film tonight and I'm left shattered by it. It is stunning. It's probably a sacrilege to some to say that I thought the 1939 version with Laurence Olivier was awful, but there it is. That was saccharine and gave no hint as to the darkness of the original novel. This version, however, recaptures all that darkness and torment and shatters your soul with it.

Ralph Fiennes is an astonishing Heathcliff. Capable of tenderness but torn apart by what he can't have all for himself. The chemistry between him and Juliette Binoche is electrifying - Heathcliff and Cathy were born to be together and to see them almost forced apart by each of them failing to be true to their heart well.. it breaks YOUR heart. The poetic dialogue with Heathcliff and Cathy on the moors and the movie score complements this perfectly.

Supporting roles are also solid especially the actress who played Ellen Dean and an interesting cameo by Sinead O Connor as Emily Bronte! The only complaint I could make about this film is that it's not long enough! Years seem to fly by far too quickly and we barely get an insight into why Cathy and Heathcliff's souls are intertwined. However, what we DO see is stunning.

For me - 10/10.

This is an unfairly maligned adaptation. True, if you judge it against more famous adaptations (e.g. the 1939 version), the first half of the film feels inadequate. However if you hold on in there, you'll get the second half of the book, revealing a plethora of themes Emily Bronte was exploring that are non-existent in the other films and revealing the novel's dark cruelty. Why previous adaptors chose to turn the film into a simple love story can be put down to sexism; had it been written by a man, the filmmakers would accept the brutal aspects of the book but of course a Victorian woman could never write such shocking things. For those who only know the story from previous adaptations or the brilliant Kate Bush song, it is a saga of hatred. Being rejected by his childhood love/adopted sister/soulmate Cathy Earnshaw (Juliette Binoche) when she chooses to marry prim Edgar Linton (Simon Shepard). Heathcliff vows vengeance on the Lintons by marrying Edgar's sister Isabella (Sophie Ward) and then also torturing Cathy and Edgar's daughter, Catherine Linton (Juliette Binoche- again!).

The film's mistake is that it is too tentative in the first half. Director Peter Kosminsky still wanted to give viewers the conventional love story that they knew and loved so he made the first half quite gentle in order to mitigate the darker second half. Unfortunately it means that Cathy and Heathcliff's relationship is not tempestuous enough. The famous declarations- "I AM Heathcliff", "I cannot live without my soul"- are spoken quietly and demurely.

Others have mentioned Binoche's excessive giggling, which doesn't convince me that she's seventeen but rather that she's under the influence. The criticisms of her accent is unfair; she has a clear French twang but it's hardly up there in the Hall of Bad Movie Accents. Fiennes' Yorkshire accent is far worse, sounding as if he'd learnt it through watching Postman Pat episodes. His initial niceness is overdone; Heathcliff is a gentle nature-loving soul who we cannot imagine why anyone would be so mean as to beat him as his adoptive brother Hindley (Jeremy Northam) does. Binoche is far too girlish as Cathy, who is essentially a tomboy and whose wild nature makes her identify with Heathcliff.

Things only really get going when Heathcliff returns, allowing Fiennes to drop the awful accent. Kosminsky keeps the novel's framed narrative, with tenant Mr Lockwood arriving at Wuthering Heights and meeting Heathcliff and Cathy II, who he mistakes to be Heathcliff's wife. If you are unfamiliar with the novel, it may be best to locate a family tree as a handy guide. Don't worry though; Emily Bronte meant the family tree to be messy and confusing. That is why I think the double-roling of Binoche as mother and daughter works. It shows how Heathcliff sees Cathy everywhere and adds a perverse sexual tension as well. Binoche is much better as the daughter and Fiennes is stronger as older Heathcliff.

One of the good things about the adaptation is its fidelity to the novel. Using much of the novel's original dialogue, we get a truer picture of Heathcliff's cruelty. It is hard to argue that Heathcliff isn't really that bad when he beats his wife, calls her an 'abject thing' and says she 'degenerates into a mere slut'. Fiennes refreshingly doesn't try to make Heathcliff sympathetic or gloss over his actions; rather he plays a torturer who is tired of tormenting yet unable to stop himself. Heathcliff could have left the second generation alone but instead he punishes them and plays with them like chess pieces.

Whilst I do like the perversely seductive evil of Fiennes' interpretation (his performance here is what got him the role of Amon Goth in Schindler's List), like Olivier he is a little too refined to play early Heathcliff. We can never really buy him as savage; in the book, he is characterised almost like a creature rather than a human. This is why to an extent readers pity him. However Fiennes' Heathcliff is suavely evil.

The inclusion of the second half of the novel is really what recommends this film and why fans of the novel should put it top of their list of adaptations to see. Bronte did not include the main characters' children to be cute or to drag out the story. It gives the story more impact, making the film a saga of one man's bitterness rather than a doomed love story. The film keeps the wonderfully atmospheric ending of the novel and shows through the second generation that the conflict may be resolved and that the things dividing Cathy and Heathcliff will not divide this second generation. Other film adaptations ignore this small ray of optimism and hence the novel is remembered as a big misery fest. First timers to the story may find themselves lost; Wuthering Heights is an odd tale even in the generic film adaptations. The relevance of the second half may not be instantly apparent to them and will certainly be confusing if they come to it with preconceptions of the story. However a re-watch brings new subtleties and nuances that aren't present in the other film adaptations (bar elements of the dreadfully dull 2011 version).

Ironically in order to see the true nature of the story, you have to watch two flawed films (1992 and 2011). One day someone will get it right- hopefully the 1992 film has opened up doors for future films to tackle both generations.

Only recently have I got round to reading the Emily Bronte classic of 1847 and, having finished it, I immediately wanted to view this 1992 British film version. It is a faithful adaptation in terms of both narrative and language but, although it is filmed in North Yorkshire, both Wuthering Heights and Thrushcross Grange are represented as much larger and grander than I had imagined them. One other criticism: the dance scene is not in the novel and is incongruous because the Grange does not do entertaining.

A notable strength of director Peter Kosminsky's work is its casting. The bewitchingly beautiful Juliette Binoche plays both Catherine Earnshaw and her daughter Cathy Linton and one can imagine why a man would go mad for love of such a woman. As the tormented and cruel Heathcliff, Ralph Fiennes is credibly dark.

Another great virtue of this film version is that, unlike many other movie adaptations of this enigmatic novel, it covers the whole story, rather than stopping at the death of Catherine. The novel is a long one covering three decades, so no film can depict all the incidents, but arguably the most pivotal scene is when Catherine declares her intention to marry Edgar Linton while confessing her love for Heathcliff and this scene is there in this movie.

I first happened across this movie on cable, and found myself absolutely captivated by Ralph Fienne's portrayal of Heathcliff. I can think of no better actor for the part, as Fiennes speaks volumes with his eyes alone, and magnificently portrays the tortured, twisted protagonist/antagonist. The rest of the lead cast is likewise brilliant, especially with regards to Juliette Binoche's endearing Catherine. The movie strays from Bronte's novel only on minor issues, and overall, performs in a manner worthy of the classic story.

The sensitive and masterful score by Sakamoto is almost a character in itself. Listening to it without distraction, it is almost impossible not to absorb the desolate and haunting mood of the film. The choice of locale for the movie was absolutely perfect, capturing the metaphors represented by the two great houses and the stark English moor.

This is definitely one of my favorite movies of all time, and one of the few occasions in which it may equal or even supercede the original novel. A must-see for fans of twisted period romances or anyone interested in pondering the roles of love and evil in the human soul.