The recent casting of Margot Robbie and Jacob Elordi in Emerald Fennell’s upcoming Wuthering Heights adaptation highlights issues of whitewashing and Hollywood’s historical casting issues.
In her book Wuthering Heights in 1847, Emily Brontë describes Heathcliff as “a dark-skinned gypsy in aspect, in dress and manners a gentleman.” It is unlikely that many people would have pictured Jacob Elordi who is set to play alongside Margot Robbie in Emerald Fennell’s Wuthering Heights adaptation—a casting choice that has certainly ruffled a few feathers.
For those who are not familiar with Wuthering Heights, it follows the tumultuous relationship between Heathcliff, an orphan, and Catherine Earnshaw, the daughter of a wealthy landowner, whilst also delving into themes of love, revenge and the consequences of obsession.It is currently unknown how closely the Oscar-winning director will keep to the original storytelling or if it will potentially follow a modern-day retelling that Baz Luhrmann did with Romeo + Juliet (1996). But, at first glance, the casting choice does seem strange, to say the least, and inherently problematic.
Concerns about the casting stem from a multitude of reasons, including cultural appropriation to the actors’ ages (Robbie is 34 and Elordi is 27, and their characters are meant to be around 17 and 40), and a lack of alignment with the period-drama aesthetic and due to their ‘iPhone face’ look.
Largely the response to the casting has not been positive with many simply confused such as The Independent’s film critic, Clarisse Loughrey, asking if “anyone actually read the book before deciding this?” Meanwhile, others, though perhaps not surprised, are urging casting directors to be a “little more creative,” in their casting choices.
Why Is Discussing Cultural Appropriation Important?
The fear of Heathcliff not being cast appropriately is that it erases his struggles, which are imperative to the novel. While Jacob Elordi will likely deliver an excellent performance, he risks becoming a pawn in the whitewashing of such a complex character.
As previously mentioned, Heathcliff is described as “a dark-skinned gypsy,” and while he is left racially ambiguous beyond that, his identity is not merely a superficial detail like whether a character is blond or brunette, but instead it is purposefully constructed to highlight his struggles with a society that marginalises him and labels him an outcast in the 1800s. This aspect of his identity is a trait that, if removed, also takes away the essence of Heathcliff as a character.
It is also important to note that this isn’t the first adaptation of Wuthering Heights where Heathcliff has been played by a white actor. For example, Tom Hardy has previously taken on the role in Coky Giedroyc’s 2009 adaptation series, and when considered alongside Andrea Arnold’s 2011 adaptation that featured a black Heathcliff played by James Howson, Fennell’s seems like three steps backwards.
Whitewashing has been around in Hollywood from its beginning: a prominent example is Scarlett Johansson’s role in Ghost in the Shell (2017) where fans were quick to notice the whitewashing of a Japanese anime character known as Major in the film adaptation.The casting choice, similar to Fenell’s Wuthering Heights, brewed significant backlash and reignited discussions around cultural appropriation and Hollywood’s whitewashing problem. Actor Margaret Cho said: “Our stories are told by white actors over and over again, and we feel at a loss to know how to cope with it.”
Hollywood’s historical tendency to favour popular actors over those who align with the characters’ cultural and racial identities mirrors broader societal trends that prioritise visibility and marketability over nuanced storytelling. This not only undermines the integrity of the source material but also sends a disheartening message to audiences about whose stories are worth telling. Since then, efforts have seemingly been made to diversify beloved characters in Hollywood, such as Disney’s The Little Mermaid, 2023. However, controversies arose regarding the casting choice, particularly due to Halle Bailey, a black woman playing Ariel, a role traditionally depicted as white.
In Ariel’s case, her race does not define her character or experiences, allowing for a broader interpretation that can resonate with diverse audiences. However, this contrasts sharply with Heathcliff’s character, where racial identity is integral to understanding his struggles and the societal marginalisation he faces.
Fennell may have other plans for Heathcliff that could surprise us, much like her BAFTA-winning Saltburn (2023), but it feels like a missed opportunity to explore the character’s rich complexity and it stands out that this chance for deeper and accurate storytelling was sidelined in favour of casting Hollywood’s big names.
The ‘iPhone Face’ Dilemma
As brilliant as they are, the idea of Robbie and Elordi in a period drama is mildly mind-boggling. As one X user comment stated: “Cathy will have the best teeth in the 19th century”. Others clocked onto the idea that the casting is merely based upon the actors’ current prominence in the industry.
NSS Magazine describe ‘iPhone face’ as “faces that seem aware of what an iPhone was”, implying that someone looks too modern for a historical setting, largely due to cosmetic reasons. While NSS suggest that Elordi does perhaps escape the ‘iPhone face,’ instead they label him with an ‘Instagram face’, implying that his looks closely resemble that of an Instagram influencer. It’s amusing to note that this was written in February, long before the casting announcement was made.
The reason many audiences are tired of the ‘iPhone face’ in period dramas is that it feels unrealistic and takes audiences out of the story. Even minor details, such as Catherine and Heathcliff having Hollywood white teeth in the 1800s, can be distracting. While these details are not significant to the plot, they can detract from the overall ambiance and ruin the authenticity of the setting for many audiences.
Moreover, Elordi has been striving to break free from the teenage typecasting that has characterised much of his early career. His recent role in Priscilla (2023) marks a shift, but as he takes on the role of Heathcliff, estimated to be around 40 years old, one can’t help but notice the problematic casting alongside 34-year-old Robbie, who will portray a teenage Catherine. This age disparity raises further questions about the integrity of the characters, especially when they are portrayed by actors who don’t visually align with the descriptions in the novel.
It can’t be understated that Robbie and Elordi will leave no crumbs on their performances; however, their casting raises questions about how seriously Hollywood takes authenticity when producing films in terms of aesthetics and cultural appropriation above popularity and glamour.
Despite these concerns, many are excited to see Fennell’s adaptation; it offers new audiences a chance to experience this classic in cinemas. However, the underlying issues of Hollywood’s apparent disregard for authentic casting and cultural appropriation will leave audiences’ popcorn to taste somewhat bittersweet.
Words by Libby Jennings
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