Too glamorous, not gothic? Why the new "Wuthering Heights" is dividing fans

Why is everyone hating on Emerald Fennell’s "Wuthering Heights"? Ever since the first glimpses of Emerald Fennell’s new take on "Wuthering Heights", starring Margot Robbie and Jacob Elordi, social media has been flooded with criticism. Many viewers have called it a hollow representation of the beloved novel, arguing that it strays too far from Emily Bronte’s brooding classic. But is the backlash entirely fair, or is this simply the clash between literary purists and a filmmaker exercising creative freedom?

To understand the debate, we need to revisit the source. Emily Bronte’s "Wuthering Heights", published in 1847, is a tragic tale of obsessive love between Heathcliff, an orphan taken in by the Earnshaw family, and Catherine Earnshaw. Their bond is intense and all-consuming, yet Catherine chooses to marry Edgar Linton for social status, breaking Heathcliff’s heart. He returns later, wealthy and vengeful, unleashing emotional devastation on everyone around him while remaining forever bound to Catherine. It is not a gentle romance but a stormy, destructive obsession that blurs the line between love and ruin.

Critics argue that Fennell’s film appears to use only the skeleton of this story while reshaping everything else. Several key characters, most notably Hindley Earnshaw, whose cruelty plays a crucial role in shaping Heathcliff’s psyche, are either reduced or absent. Characters like Nelly and Isabella also seem vastly altered, diluting the complex emotional ecosystem that gives the novel its gothic intensity. This has led many readers to feel that the film functions more as an inspired retelling than a faithful adaptation.

Comparisons are inevitable. Many consider the 1992 film adaptation, starring Ralph Fiennes and Juliette Binoche, as the closest cinematic interpretation of Bronte’s tone and narrative fidelity. Against that yardstick, Fennell’s version feels more stylised and interpretative, focusing less on the novel’s psychological brutality and more on the central romance.

The casting has also drawn heavy scrutiny. While Margot Robbie and Jacob Elordi are undeniably charismatic performers, some viewers feel the emotional arc between Catherine and Heathcliff is underdeveloped on screen. The film seems to assume that the audience already understands the depth of their bond rather than building it gradually. As a result, their relationship may feel visually charged yet emotionally shallow.

Heathcliff, in particular, lies at the heart of the controversy. In Bronte’s novel, he is a dark, enigmatic outsider of unknown origin, defined less by morality and more by intensity. His love for Catherine is absolute, possessive, and destructive. In contrast, Elordi’s portrayal reportedly leans towards a softer, more conventional romantic hero. This shift changes the very moral centre of the story. Instead of a haunting, morally ambiguous figure driven by obsession, he becomes easier to sympathise with, but arguably less terrifying and less complex.

Robbie’s Catherine has sparked its own debate. As an adult, she fits the role convincingly, but some viewers feel her glamorous screen persona clashes with the raw, wild ferocity described in the novel. Catherine Earnshaw is chaotic, impulsive, and untamed, a woman whose emotional extremes mirror the windswept moors. The polished elegance associated with Robbie can feel at odds with that earthy, unruly spirit, especially in scenes depicting Catherine’s younger years.

Another major point of discussion is the film’s sensual tone. Fennell appears to frame Heathcliff and Catherine’s relationship as more overtly romantic and visually seductive. The chemistry between the leads is intense and steamy, yet critics argue that this emphasis on sensuality replaces the unsettling emotional depth that defines the novel. The result, for some, is a story that feels passionate but not psychologically piercing.

At the same time, it is important to acknowledge creative interpretation. Fennell has never claimed to deliver a line-by-line adaptation of Bronte's work. Instead, the film seems to be her personal reimagining of the themes she finds most compelling. Literary purists may reject this approach because it diverges from the version they hold sacred. But cinema has always reinterpreted classics through the lens of contemporary storytelling.

Ultimately, the backlash stems from expectations. When audiences hear "Wuthering Heights", they anticipate brooding darkness, moral ambiguity, and raw emotional chaos. If a film chooses beauty, sensuality, and stylised romance instead, it risks feeling like a different story altogether. Whether that makes Fennell’s version misguided or simply bold will depend on how much weight one gives to fidelity versus artistic freedom.