Hoo’s Watching: ‘Wuthering Heights’ and the art of anachronistic period pieces

It is no easy feat creating a movie based in a time period of the distant past. Recently, Emerald Fennell’s attempt at adapting “Wuthering Heights" caused controversy in the media. Advertising itself as a loose adaptation — opting to put the title of the movie in quotes — its deviations from the original source material have caused quite the discussion. Costume designer Jacqueline Durran has stated that the costumes are aiming to tell a more provocative story, reflected in Cathy’s wardrobe of modern and old pieces.

While the choices made in “Wuthering Heights” recently made headlines, the choice to be purposefully inaccurate is one that directors have made for decades. Whether to humanize the characters portrayed or to tell a unique story, these anachronisms add an element to films that transforms them from sticking strictly to history. From their scores to their dialogue, each of these four movies breaks out of the conventions of historical accuracy.

Marie Antoinette (2006)

Sofia Coppola’s 2006 cult classic film follows the life of Marie Antoinette, the infamous French queen. Based on the 2001 biography “Marie Antoinette: The Journey” by Antonia Fraser, the film follows Antoinette throughout her life at Versailles as the young woman adjusts to the stuffy life of a royal. While Coppola filmed in Versailles, the movie is not a true biography. In Coppola’s attempt to humanize the real monarch — who was only a teen when she first arrived at the palace — she utilizes anachronisms to shed a sympathetic light on the queen.

The soundtrack is modern, using tracks from bands such as The Cure, The Strokes and Siouxsie and the Banshees. Visually, the film is an explosion of girly colors as Antoinette is often decked in lavish clothes, hair and makeup — a modern representation of the way the real Marie Antoinette dressed. However, in one shot, a pair of Converse shoes can be seen among an array of Manolo Blahnik designer shoes. In these moments, the viewer is reminded that Marie Antoinette is still just a young girl who also happens to be the Queen of France.

A Knight’s Tale (2001)

The 2001 movie, directed by Brian Helgeland, features Heath Ledger playing William Thatcher, a squire in the 1370s whose master has died in the middle of a jousting tournament. Thatcher poses as his now-passed master, going on to compete in more battles and becoming a well-known figure in the jousting tournament world.

In an attempt to relate 14th century jousting culture to a modern audience, the film sacrifices a great deal of accuracy. As Thatcher sets out on his journey, the soundtrack includes songs from the likes of 1970s powerhouse stars such as David Bowie, Eric Clapton and Heart. As the first tournament begins, the 14th century crowd begins loudly singing and clapping to the Queen song “We Will Rock You.” Throughout the film, costuming and hairstyling also diverge from historical accuracy as the main love interest, played by Shannyn Sossamon, sports pigtails. In diverging from being a true representation of the 14th century, “A Knight’s Tale” adds an element of modern whimsy that allows the audience to place themselves within the atmosphere of a jousting tournament.

Moulin Rouge! (2001)

Baz Luhrmann’s romantic drama and musical follows a young, depressed writer — played by Ewan McGregor — as he falls in love with Satine, a cabaret actress and courtesan played by Nicole Kidman. Set in Paris in 1899, the film breaks from historical accuracy with its over-the-top depiction of this setting, featuring flashy set designs and costuming that create a world completely separate from the one in which the film is set. Visually, the set designs are intricate and theatrical, falling in line with the movie’s cabaret subject matter.

In the musical performances, modern songs are interspersed with the film’s original score. Labelle’s “Lady Marmalade” segues into the angsty sounds of Nirvana’s “Smells Like Teen Spirit.” In both its soundtrack and its exaggerated depiction of late 19th century Paris, the movie makes it clear that its focus isn’t accuracy. Instead, the movie aims to create a fantastical view of this time period that appeals to modern audiences.

The Little Hours (2017)

Taking on the religious culture of the 14th century, Jeff Baena’s 2017 film — based on the 14th century book, “The Decameron” by Giovanni Boccaccio — follows a nunnery as sexual chaos ensues. A young servant, Massetto — played by Dave Franco — is caught sleeping with his lord’s wife, played by Lauren Weedman. Massetto is forced to flee by pretending to be deaf-mute in order to work in a nunnery, and goes on to strike up a friendship with Father Tommasso, played by John C. Reilly. In trying to keep up his appearance of being deaf-mute, Massetto must also deal with the emotionally unstable nuns, played by Alison Brie, Kate Micucci and Aubrey Plaza — all of whom are trying to sleep with him.

The movie features modern dialogue with words that would not come into prominence until years later. Featuring an ensemble cast including Fred Armisen, Jemima Kirke and Molly Shannon, and topics of witchcraft, lesbianism and extensive nudity, the movie is far from an accurate depiction of a medieval nunnery.

While many films contain mistaken anachronisms, deliberate usage can help provide relatability to a historical period. These types of films can serve to humanize historical figures and time periods to a modern audience, allowing for a sense of relatability across decades.

Hoo’s Watching: ‘Wuthering Heights’ and the art of anachronistic period pieces

With “Wuthering Heights” departing from historical accuracy, this list highlights four other movies that stray from veracity

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