The affair emboldens her and gives her glimpse of the good life, inspiring her to spend more and more money she doesn’t have on lavish dresses and decorations from the obsequious dry-goods dealer Monsieur Lheureux ( Rhys Ifans), who’s all-too happy to continue extending her credit. But she’s definitely ready for extramarital activities once the dashing Marquis ( Logan Marshall-Green) makes even more overt advances. She shows restraint at first when smitten law clerk Leon Dupuis (a boyishly romantic Ezra Miller) skittishly professes his affections for her. Even when he’s home, he’s such a numbing drag that he may as well not even be there.Įmma longs for more-excitement, passion, status, love. But life in the small, provincial town of Yonville soon makes her miserable, as she spends her days alone reading or wandering in the garden while Charles tends to patients. This “Madame Bovary” begins as teenage Emma is packing up her belongings and preparing to leave the convent to marry the man her farmer father has arranged as her husband: country doctor Charles Bovary ( Henry Lloyd-Hughes). Major emotional shifts come abruptly, while other sections are languid, brooding and often wordless to reflect Emma’s isolation. They’ve jettisoned the beginning of the book focusing on husband Charles’ childhood, they do away entirely with the couple’s daughter, Berthe, and they combine two male characters to create Emma’s first, tumultuous lover.

Perhaps the intention was to contemporize this figure, though with her distractingly flat American accent, Emma Bovary could be Betty Draper, or a reality-show housewife, or the mom waiting in front of you in an SUV in the pickup line at school.īarthes and co-writer Felipe Marino have significantly streamlined and mixed up the narrative, beginning with Emma’s tragic ending and working their way back to it.

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