WUTHERING HEIGHTS. (1978) THE BBC DRAMATISATION REVIEWED BY SANDRA HARRIS.

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WUTHERING HEIGHTS. (1978) THE BBC ADAPTATION BASED ON THE NOVEL BY EMILY BRONTE. DIRECTED BY DICK COLES. STARRING KEN HUTCHISON, KAY ADSHEAD, PAT HEYWOOD, JOHN DUTTINE, CATHRYN HARRISON, ANDREW BURLEIGH, DAVID ROBB, DAVID WILKINSON, BARBARA KEOGH, BRIAN WILDE AND CAROLINE LANGRISHE.

REVIEW BY SANDRA HARRIS. ©

‘My love for Linton is like the foliage in the woods. Time will change it, I’m well aware, as winter changes the trees. My love for Heathcliff resembles the eternal rocks beneath- a source of little delight, but necessary.’ Catherine Earnshaw.

Oh wow. I’ve seen a fair few film-and-TV versions of Emily Bronte’s classic novel in my time, but this one has by far the most rain, the most wind, the most mist, the most water-logged, treacherous moors, the most whipping, and the most destructive, messed-up inter-personal relationships you’ll ever see. I bloody well love it, lol, for all these reasons and more.

It’s the bleakest, grittiest, most depressing and most violent (emotionally and physically) version there is, I do believe, but this is a positive thing and not a bad one. It’s how this book was meant to be filmed, my dears. No Jane Austen light comedy-of-manners, this. This is a book about pain, obsessive love, revenge and endless suffering, and any screen version would do well to remember this as this version does.

In this version, the sins of the father (and mother) are not only visited on the children, but they (the sins!) have brought a mountain of bloody luggage with ’em an’ all, and announced their intention of occupying the back bedroom for the foreseeable future so forget what plans you’ve made for ‘t’ back bedroom, the sins are here to stay and there’s nowt you can get do about it, so you’d best put up and shut up, lol, and get ‘t’ bloody kettle on sharpish.

Wuthering Heights is the rain-washed farmhouse on the Yorkshire moors that houses the Earnshaw family, the family into which the young foundling Heathcliff is first brought by Daddy Earnshaw as an interloper, an outsider, the cuckoo in the nest. Hindley, the real son of the family, loathes Heathcliff with all his being, but the same can’t be said for Hindley’s sister, Catherine…

Catherine grows up mostly without a mother. She’s a tomboy, an expert rider and tree-climber, a free spirit with a wild, tempestuous nature as wild and tempestuous as the moors where she grows up. This wildness and longing for freedom in Cathy’s soul, this contempt for the conventions, finds an answering call in the boorish and brooding Heathcliff’s tormented being. Thus begins the love affair that flies in the face of God and transcends the years and even, eventually, Death itself…

Cathy and Heathcliff are perfect for each other, but that’s not to say that they’re perfect. Their relationship is a passionate, spiteful destructive one, in which two similarly selfish, self-willed, self-centred people butt heads and vie for mastery of each other. Cathy is particularly spoiled and wayward. Heathcliff, one supposes, is merely the product of his painful upbringing, in which Catherine Earnshaw was the only person to show him anything approximating love.

Cathy rejoices in making Heathcliff jealous, in watching him twist himself up in knots for love of her. It hurts him greatly when she discovers the Linton family of Thrushcross Grange across the moors, and makes a favourite of posh Edgar Linton, the rather sissified toff with the stiff upper lip and aristocratic bearing who nonetheless cannot hold a candle to Heathcliff’s enduring passion.

Cathy and Heathcliff bring pain and suffering to those around them. They should really be quarantined and kept apart from other people, the better to not taint them with their particularly vicious brand of twisted love. 

But they seem to almost enjoy bringing hurt to others (Heathcliff in particular), and so their fates and fortunes become inextricably linked with those of the Lintons, Edgar of Thrushcross Grange and his younger sister Isabella, and the Lintons will be the worse off by far for it.

They’ll drag their children into it too, and make them good and miserable as well. There’ll be nothing but misery, in fact, for all who are tainted by this destructive affair or amour fou, a crazy, messed-up kind of love. (There’s so much inbreeding going on here, as well, that it makes mental illness in some of the protagonists a very real prospect.) 

Throughout it all, Ellen (Nelly) Dean, Cathy’s nurse, stands true and faithful to her darling Catherine, Catherine’s lover Heathcliff and any of the various offspring who are placed in her care and clasped to her motherly bosom.

I daresay she’s frequently an enabler, too, for the most toxic and poisonous man-woman relationship that ever soiled the face of the earth, but at least no-one can question her fidelity to her mistress (Cathy) and master (Heathcliff).

This screen version of the book has the most capricious and temperamental Catherine, the most steadfast Nelly, the most tortured and tormented Heathcliff and the wettest, windiest moors. I remember enjoying my solitary bike rides as a child to a ruined castle on the outskirts of town, where I clambered over the uneven surfaces of the castle floor and looked out the glassless windows across the fields, imagining them to be moors and myself the much-loved and fought-over Cathy.

I couldn’t, at that age, conceive of anything more divinely romantic than a man who loved his girlfriend so much that he would dig up her rotted corpse some twenty years after her death and make love to it, at least with his lips. I guess a career in horror writing was already beckoning, lol.

Graveyards already held a special charm for me and, when I discovered a single unattended grave in the grounds of my ruined castle, well, of course, it just had to be Cathy’s, lying quietly awaiting the arrival of a Heathcliff with a good strong shovel. It might wait there still, for all I know. (Or, most probably, some poxy businessmen might have bought and ‘developed’ the land and turned it into ‘luxury’ apartments, boooooo!)

Kate Bush, my favourite singer of all time, male or female, had obviously felt a similar attraction to this gothic story of doomed love, because she wrote that timeless hit song that had more wildness and passion about it than most of the screen versions of same. This is the kind of story that appeals to people with a gothic, maybe even slightly flawed turn of mind, lol.

If you like the frilly, flouncy, fluffy kind of love that has a happy ending and ties up neatly with a big chocolate-boxy bow, you’d best stick to Jane Austen. But if you want your romance stories to end mainly tragically with only a little teensy-weensy bit of hope left for the future, then Emily’s your man.

Her own sister Charlotte nearly managed to out-romance her in the fabulous classic JANE EYRE, but Emily still pips her to the post. A book with a male character in it who wants, who begs, to be haunted by his dead lover’s ghost on the stormiest of stormy nights on the wiliest and windiest of wiley, windy moors would pretty much pip anyone else’s book to any mouldy old post.

‘Cath-eeeeeeeeeeeeeeeeeee…!’

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, poet, short story writer and film and book blogger. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, women’s fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

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