The new screen adaptation of "Wuthering Heights," directed by Emerald Fennell, significantly deviates from Emily Bronte's original 1847 novel. The film is described as an unusual blend of campy romance and Gothic horror, featuring lavish sets and costumes. The opening scene immediately establishes a shocking and twisted tone, involving a public hanging observed with apparent pleasure by a nun. The central plot focuses on the intense, forbidden relationship between Cathy Earnshaw (Margot Robbie) and Heathcliff (Jacob Elordi). The adaptation is classified as morally offensive by OSV News and carries an R rating from the Motion Picture Association.
19 days ago
A new adaptation of Emily Bronte's 1847 novel "Wuthering Heights" has been released, directed and written by Emerald Fennell.1
Starring Margot Robbie as Cathy Earnshaw and Jacob Elordi as Heathcliff, the film is described as "Barbie" meets "Bridgerton," with quotation marks around the title signaling its loose take on the source.1
The story begins with a shocking opening: a public hanging where the condemned shows an arousal-like reaction, observed gleefully by a nun.1
Cathy and Heathcliff meet as children; her father adopts the urchin Heathcliff (Owen Cooper), whom young Cathy (Charlotte Mellington) names after her late brother.1
Heathcliff protects Cathy from her father's drunken violence.1
As adults, Cathy marries wealthy Edgar Linton (Shazad Latif) despite her passion for Heathcliff, who flees heartbroken and returns rich.1
Cathy then cheats on Edgar—while pregnant—rekindling her affair with Heathcliff amid dramatic declarations like "Kiss me again and let us both be damned."1
Fennell blends campy romance, Gothic horror, and elements from her prior film "Saltburn," prioritizing shocks over fidelity.1
Sumptuous sets, flashy costumes, and wild weather dominate visually.1
Supporting roles include Nelly (Hong Chau), a secretive governess, and Isabella (Alison Oliver), Edgar's sister obsessed with dolls, hair, and ribbons.1
The review labels it an "overheated mess," more aptly titled "Withering Lows," likely disappointing purists.1
Purists may recoil at deviations from Bronte's tale.1
Features brief bloody violence, graphic execution, physical abuse, strong sexual content (adultery, aberrant behavior), partial nudity, rough/crass language, and crude expressions.1
Motion Picture Association: R (under 17 requires adult).1
OSV News classification: O – morally offensive.1
Assess Catholic Church’s view on moral depictions in contemporary media
The Catholic Church consistently teaches that contemporary media, while powerful tools for communication and evangelization, must uphold human dignity, chastity, and moral truth, condemning depictions of pornography, violence, and immorality that degrade persons and society. Rooted in the Magisterium's transmission of Christian moral doctrine—drawn from Scripture, Tradition, and the Decalogue— the Church calls for moderation in media consumption, critiques harmful content, and urges pastoral responses like education and formation. This assessment draws from key documents highlighting both dangers and responsibilities.
The Catechism of the Catholic Church establishes foundational guidelines for evaluating media's moral role. It emphasizes that the Magisterium exercises authority in moral matters through catechesis and preaching, preserving a "deposit" of teachings on rules, commandments, and virtues animated by charity. This includes vigilance over social communications, which can foster passivity and expose users to unwholesome influences. Users are urged to practice moderation and discipline, forming enlightened consciences to resist moral corruption.
The Catechism's broader aim is an organic synthesis of doctrine on faith and morals, serving as a reference amid cultural shifts. These principles apply directly to contemporary media, where instant access amplifies risks of distorted moral messaging.
Pornography receives unequivocal condemnation as a grave offense against chastity and human dignity. Defined as "removing real or simulated sexual acts from the intimacy of the partners, in order to display them deliberately to third parties," it perverts the conjugal act, objectifies participants (actors, vendors, public), and immerses users in a fantasy world of base pleasure. The U.S. bishops affirm: "all pornography is immoral and harmful... a mortal sin if committed with full knowledge and deliberate consent," extending beyond visuals to written, audio, or virtual forms—rejecting distinctions like "soft-core." It is not art but a violation harming individuals, relationships, and society.
Earlier documents echo this: pornography violates privacy of the human body, appealing to concupiscence and reducing persons to objects. Theologian Reinhard Hütter links it to acedia, a "cold" vice freezing the soul in indifference to dignity, fueled by spiritual apathy. Civil authorities should prevent its production and distribution.
Violence in media is similarly critiqued for denying human dignity, God's image in others (Gen 1:26-27). Pope John Paul II held media accountable for glorifying violence, blunting moral sense, and contributing to urban ills, demanding societal responsibility including from broadcasters. The 1989 Pontifical Council notes violence as presentations appealing to base instincts, depicting force offensively—confirmed by global studies on its "evil effects."
Paul VI warned against media parading "human depravity" or stimulating immoral inclinations, dishonoring decency and corrupting youth under no "right to information" pretext. In Oceania, John Paul II decried rising violence levels and advertising's consumerist ideology conflicting with faith. Media freedom is conditioned by moral fidelity and civil laws protecting the common good.
The Church must be a prophetic voice teaching objective moral truth, especially chastity, countering permissiveness. Responses include media education in schools, seminaries, parishes; assisting parents; and formation for priests as discriminating consumers. Pastoral plans for communications are urged, integrating strategies for evangelization, assessment of media environments, and outreach to professionals.
Media bear duties to truth, decency, and the common good, avoiding bias or distortion. John Paul II praised media's evangelistic potential but stressed critical evaluation. Users, especially youth, need equipping for discernment.
Amid critiques, media offer opportunities for Gospel proclamation if used responsibly—building community, countering harm through Christian values. The Church encourages dedicated Catholics in media vocations and coordinated efforts.
In summary, the Catholic Church views moral depictions in contemporary media through the lens of human dignity and virtue, firmly rejecting pornography and violence as grave evils while promoting formation, moderation, and redemptive use. This consistent Magisterium calls all—producers, consumers, and shepherds—to foster a culture of life and truth.