Hollywood’s Misunderstanding of Gothic Literature: Why ‘Wuthering Heights’ Casting Sparks Controversy Over Repeated Actors

Hollywood’s Misunderstanding of Gothic Literature: Why ‘Wuthering Heights’ Casting Sparks Controversy Over Repeated Actors

Despite the fact that it has been several weeks since the casting of Margot Robbie and Jacob Elordi for Emerald Fennell’s new adaptation of Wuthering Heights was announced, I can’t shake my disappointment. This sentiment isn’t expressed with any fondness.

As an avid lover of period dramas, I cannot recall witnessing such troubling casting choices for a revered literary work like Emily Brontë’s Wuthering Heights, a classic 19th-century novel so renowned that any fresh interpretation could leverage its established fame. It would be preferable to cast lesser-known actors who are more aligned with the characters’ descriptions. In truth, there are many well-known actors who could portray Catherine and Heathcliff more effectively than Robbie and Elordi—this observation comes along with my admiration for both their talents.

The Internet has already dissected a multitude of issues surrounding this casting announcement extensively. Concerns include the obvious “iPhone face,” age discrepancies, and a notably significant detail regarding Heathcliff’s character being clearly described as a person of color within the novel.

The timing of this announcement, coming shortly after Netflix revealed plans for a new take on Oscar Wilde’s The Picture of Dorian Gray—with a twist that will have Dorian and Basil as brothers—raises the question: What is Hollywood’s obsession with Gothic tales?

Gothic fiction, in its various forms, can be described as a genre steeped in fear and the supernatural, which started prominently in 1764 with Horace Walpole’s The Castle of Otranto, continuing its evolution through the 19th and 20th centuries. Both Oscar Wilde and Emily Brontë stand out as significant figures in this genre. Although The Picture of Dorian Gray and Wuthering Heights have distinct narratives, they share an underlying atmosphere of dread and a host of troubling themes—whether those themes reflect the moral dilemmas of their respective eras or generate a general unease.

Given that these unsettling subjects are integral to Gothic storytelling, they ought to be key components in contemporary adaptations. However, decisions such as the casting for Wuthering Heights, or the reimagining of relationships in the upcoming Netflix film, appear to indicate that a faction within Hollywood desires to capitalise on the allure of well-known narratives while simultaneously stripping them of their controversial elements to avoid igniting online debates.

There is a simple solution available: why not focus on creating original content, or consider adapting less familiar works, instead of recycling the same few titles? If these commonly adapted stories are the only option, the adaptations should remain true to the original ambiance and themes—similar to what Robert Eggers and Guillermo del Toro appear to be accomplishing with their upcoming films Nosferatu and Frankenstein.

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