Unpacking the Unsettling: A Deep Dive into the Hidden Details of “Wuthering Heights”
The recent cinematic adaptation of Emily Brontë’s classic novel, “Wuthering Heights,” has left audiences both captivated and unnerved. Far from a straightforward period piece, director Emerald Fennell intentionally crafted a world designed to evoke a “slightly disconcerting feeling” and an “uncanny vibe.” Working closely with production designer Suzie Davies, the aim was to create sets that were less about historical accuracy and more about amplifying the psychological turmoil at the heart of the story. As Fennell herself explained, in her vision, “we take everything that bit further,” resulting in a maximalist interpretation that has viewers describing the aesthetic as a “fever dream” or even “fanfic.”
This bold approach means that even for those who have seen the film, there are countless subtle symbols and micro-details woven into the fabric of the narrative that might have slipped past. Fennell likens the experience of dissecting these elements to “circling Where’s Wally in a book,” and indeed, viewers have been busy unpicking the unhinged details, with social media platforms buzzing with discoveries. One such observation, highlighted by TikTok creator @angelina.cleo, pointed out the soot lines above a fireplace that progressively darken with each scene, suggesting the house itself is absorbing and personifying the decay of its inhabitants. This intriguing observation has prompted a closer look at the many hidden layers within the film’s production design.
A Tapestry of Symbolism: Decoding the Visual Language
The film’s visual storytelling is rich with symbolic elements, meticulously placed to deepen the audience’s understanding of the characters and their tumultuous relationships. Here are some of the key details worth keeping an eye out for:
Hair as Narrative Threads:
The very opening of the film features the title, “Wuthering Heights,” intricately woven from both brunette and blonde hair, reportedly modelled on the actual hair of stars Margot Robbie and Jacob Elordi. This serves as a direct nod to a poignant moment in the novel where housekeeper Nelly Dean weaves a lock of Catherine’s hair with a piece of Heathcliff’s, placing them within a locket. Some sharp-eyed viewers have even claimed to spot lice within this opening sequence – a subtle, albeit grim, foreshadowing of the pervasive decay and infestation of negative emotions.The House as an Open Book:
The architectural design of Wuthering Heights itself is a clever visual metaphor. The house and the surrounding mountainous landscape are artfully shaped to resemble an open book, complete with a central line that mimics the gutter between splayed pages. This suggests that the story unfolding is a narrative to be read, a tale etched into the very landscape.The Ominous Red River:
Early in the film, a river is depicted with a distinct reddish hue, strongly resembling blood. This serves as a potent visual premonition of the violence and bloodshed that will permeate the story. Red is a recurring motif throughout the film, appearing prominently in the interiors of Thrushcross Grange and increasingly in Catherine’s attire as the narrative progresses, intensifying her connection to the passionate and destructive forces at play.Whispers of Mortality:
The theme of death is woven into the narrative from its earliest moments. The lyrics of a song heard at the beginning declare, “I think I’m gonna die in this house,” a chilling prophecy fulfilled by Catherine’s eventual demise within its walls. Further underscoring this, Catherine’s first bedroom at Wuthering Heights features a bedspread inscribed with the prayer, “If I should die before I wake, I pray the lord my soul to take.” Beneath this, seven hanging dolls are positioned, potentially symbolising the seven key deaths that punctuate the novel’s tragic arc.
Catherine’s Shifting Identity:
A particularly insightful detail is found etched onto a windowpane. Catherine’s name is inscribed multiple times, each with a different surname. However, these disparate identities only coalesce into a singular connection when paired with Heathcliff’s name. This visual representation, seen in a replica of Catherine’s room shared via an Airbnb experience, highlights the complex and often fractured sense of self Catherine experiences, and her profound, albeit destructive, entanglement with Heathcliff.
Surrealist Escapades:
The set design frequently ventures into the realm of surrealism, pushing the boundaries of reality. Giant strawberries, vases overflowing with fish (a deliberate nod to Baz Luhrmann’s “Romeo + Juliet”), and even fish-like creatures lurking in jelly – into which Catherine provocatively dips her finger – all contribute to the unsettling atmosphere. These elements serve to reinforce the idea of Catherine as a doll within a dollhouse, manipulated by external forces and her own internal turmoil. The giant strawberry, in particular, could also be a subtle reference to the once-popular pastime of strawberry-picking parties, adding a layer of nostalgic innocence corrupted by the film’s darker themes.
Anachronistic Textures:
Production designer Suzie Davies deliberately incorporated elements that would not have been historically accurate for the 19th century. Notably, fake fur features prominently, such as the vibrant red lining of the grand staircase at Wuthering Heights and the ombre purple-to-blue faux fur concealed beneath chairs in Isabella’s room. This conscious departure from historical fidelity allows for a more visceral and symbolic representation of luxury, decay, and emotional intensity.The Ubiquitous Hand Motif:
The set design for Thrushcross Grange is replete with an unsettling motif of hands. Bespoke hands were sculpted for ceiling roses, with the art department even using the hands of their own team members. Wall sconces in a particular room feature the hands of a prop master in various poses, engaged in shadow puppetry along the upper walls. Adding to the eerie atmosphere, some of these hand sculptures are depicted in suggestive or even “rude” poses, with fingers inserted into holes, further contributing to the sense of unease and hidden desires.
Rose-Tinted Perception:
During a montage sequence where Catherine appears to be embracing the opulent lifestyle at the Grange, she is quite literally seen wearing rose-tinted glasses. This ingenious visual gag perfectly encapsulates her initial enchantment and perhaps a naive, idealized perception of her new surroundings.The Perils of Real Fire:
The commitment to authentic lighting extended to the use of real candles, often double-wicked for maximum dramatic effect. However, this dedication to realism led to a terrifying incident. Actress Alison Oliver, who plays Isabella, reportedly heard a sizzling sound during a scene filled with candles and exclaimed, “I’m on fire,” as her wig had caught alight. Fortunately, Jacob Elordi is said to have extinguished the flames with his bare hands, a testament to the actor’s quick thinking and the inherent dangers of such immersive set designs.Echoes of Art History:
A seemingly innocuous scene featuring Isabella pushing Catherine on a swing carries a significant artistic reference. The composition and dynamic of the swing scene are strikingly reminiscent of Jean-Honoré Fragonard’s 18th-century Rococo painting, “The Swing.” In the painting, a woman on a swing is being propelled by her husband while her lover lurks in the bushes, a parallel that subtly hints at themes of illicit desire and hidden agendas within the film.
A Wall of Living Skin:
Perhaps one of the most striking and unsettling details is the wall in Catherine’s room, which was meticulously designed to replicate Margot Robbie’s actual skin. This was achieved by photographing Robbie’s skin in detail, capturing her veins and freckles. The final effect was created using padded panelling printed with her skin, overlaid with latex to mimic a subtle sheen and the appearance of sweating, complete with ‘hairs’ growing from ‘moles.’ This visceral representation blurs the lines between character and actor, and between the internal and external, making the very walls of her environment feel like an extension of her own being.
Nature’s Unrelenting Advance:
At Wuthering Heights, the production design aimed to convey a sense of nature aggressively encroaching upon the man-made structure. A large rock face, constructed from expanded foam moulds, was integrated into the set, appearing to push its way into the kitchen. This visual metaphor underscores the untamed, elemental forces that shape the lives of the characters and the desolate landscape they inhabit.
The Pervasive Presence of Leeches:
When Catherine is subjected to an archaic medical treatment involving leeches applied to her skin, these parasitic creatures are also depicted crawling up the walls of the room. This surreal imagery reinforces the idea that the very environment is mirroring Catherine’s internal state, suggesting that the room itself is a manifestation of her suffering and decay.Envy in Emerald Hues:
Edgar Linton’s character is subtly associated with the colour green. When he learns of Catherine and Heathcliff’s clandestine relationship, he is dressed in green, and his bedroom at Thrushcross Grange is also painted in this hue. This visual cue directly alludes to the idiom “green with envy,” highlighting Edgar’s simmering jealousy and resentment.The Ambiguity of the White Veil:
The white veil Catherine wears as she journeys to marry Edgar is a potent symbol. It has been interpreted as a visual echo of the film’s opening, which features a close-up of a person struggling to breathe through a sack over their head, evoking a sense of suffocation and impending doom, akin to a hanging.A Secret Union in Black:
In stark contrast to the white veil, Catherine dons a black veil at her father’s funeral. It is during this somber occasion that Heathcliff removes the veil to kiss her in secret. This act suggests a clandestine union, a bond that exists only in the shadows and in the face of death, hinting at a love that transcends societal norms and even life itself.
A Single Deviation from the Norm:
In a room characterised by a stark black and white tiled floor, a single brown tile stands out. This anomaly is speculated to be a subtle nod to Heathcliff, who is depicted as a person of colour in the novel. Similarly, within the Wuthering Heights house, when it comes under Heathcliff’s ownership, a single red pane is visible in a window, perhaps symbolising the fiery passion or the blood spilled during his reign.From Pet to Master:
The film powerfully illustrates the dynamic of power and possession within relationships. In their childhood, Catherine’s father presents Heathcliff to her as a pet, even bestowing a name upon him. Later in life, Heathcliff mirrors this behaviour, treating Isabella Linton as his own pet, complete with a dog collar, highlighting the cyclical nature of control and dehumanisation.
Dollhouses as Foretelling Instruments:
The theme of dolls and dollhouses permeates the film, serving as potent visual metaphors for control, manipulation, and foreshadowing. Isabella shows Catherine a miniature replica of the Grange, placing dolls of herself and Catherine within it. Later, in Isabella’s own room, a dollhouse contains a miniature Catherine doll depicted with a knife in its back, mirroring Isabella’s real-life actions towards Catherine and functioning as a voodoo doll, predicting and influencing future events.
