Wuthering Heights

MTV does the Emily Brontë novel in a beachy rocking take on the material. One day, Cate and Hendrix's father (John Doe) brings home their new adopted brother Heath. Cate (Erika Christensen) and Heath (Mike Vogel) would fall in love. Hendrix (Johnny Whitworth) is an angry young man who hates Heath. When their father dies, Hendrix takes over and drive Heath away. Cate has a car accident and is rescued by wealthy neighbor Edward (Christopher Masterson). Edward's conniving sister Isabel (Katherine Heigl) schemes to break apart Cate and Heath keeping Heath to herself. Cate would marry Edward. Heath becomes a rich rock star and his return causes havoc.

The acting is laughable for the most part. Erika Christensen is the only good part of this movie. Mike Vogel could be a passable douche but he's a horrible Heath(cliff). He overacts in every scene yelling and screaming. He just doesn't have the charisma. The production is acceptable for a TV movie. The music ranges from uninspired to horrible. The movie aspires to be so much more but ends up being a weak young adult melodrama. It's an experiment gone wrong.

For anyone looking for the "I Will Crumble" song , it was originally done by Hewitt Huntwork and it's easily downloaded! I liked this song a lot, along w/ Erika Christensen's part on "More." But I must say that I wished they would have spent a little more time on character development...it seemed as if Mike Vogel's "Heath" was extra intense for no reason, whereas in the book you really got to see why Heathcliffe and Catherine felt like one person...when "Kate" was talking about that in the Linton bedroom, I didn't think it was very believable based on what had been shown...it definitely could've been better...but this "I Will Crumble" song is still in my head...it is such a pretty song and it wholly encompasses the relationship of Heathcliffe and Catherine...if only MTV could have portrayed that w/ Heath and Kate, who ended up just looking like unchaperoned, lust-filled teens

This MTV movie was so weird. Everyone is making a big deal out of how the male and female stars are both chubby but I think Erika Christensen and Mike Vogel are hot and they had good chemistry. What people SHOULD be making a big deal out of is the fact that this film is kind of bad but also kind of good. Its just one those movies that you could watch over and over because its so corny and the scenery is so beautiful. Katherine Heigl looks so differnt from when she was in My Father the Hero. Christopher Masterson was kind of hot in this. And Johnny Whitworth who I last saw 8 years ago in Empire Records, was okay and kind of hot. Its so weird how in the beginning he licks Katherine Heigl's face. Aimee Osbourne was the best thing in this movie probably and she had like no lines. But actually the best thing about it is Heath and Cate's relationship. Man do I wish I had a relationship like theirs. So passionate and intense and loving but also hating. They both did good in the movie. I really like Erika Christensen but I dont know why. All in all I wish there was at least one really hot guy in this movie but there wasn't and the sex scenes were nothin special.

What an empty and lack lustre rendition of the classic novel. I do wish people would stop messing about with classics when they clearly have no idea of the real intention or point of the original. This version is no different. I felt that the Ralph Fiennes version is much worse though as the casting of Juliette brioche as Kathy has got to be the worst casting decision EVER...anyway back to this version. It aims to make the story relevant to a contemporary setting and in a musical style. It succeeds in both but high art it is nit. Throwaway viewing for a rainy day maybe...The direction was average and the editing abysmal. Worse than the old Quincy. Deepak Verma does a great turn as Hindley and is in fact one of Britains wasted talents. The part of Heath was played with great charm and belief and I think that the casting is the strongest point of this project. Although a more talented director would have made better use of the facilities he had. Its clear that he was a director for hire and didn't instill the project with the passion that it deserved.

Remember that this movie is not a version of the classic novel-as with numerous other movie versions in the past-but an update, a free-wheeling variation on Brontë's somber theme.

There are strokes of genius interspersed with much banality. One of the former is to take the brooding socio-ethnic outcast of the novel-a gypsy foundling there-and rethink him as a petulant blond rockstar, a drifter from childhood whose only home is music. Mike Vogel alternately smolders and dazzles in the part, but the writing is ultimately too weak to sustain his efforts, which are commendable, and give us a character who is by turns passional, poignant, and heroic.

Erika Christensen is less compelling as the update of the tempestuous and incomparable Catherine. And this is partly due to the fact that, once again, the writing fails to elevate her character to a level of true complexity. When she delivers what must be one of the most famous lines in all English Literature-"I am Heath(cliff)"-we reach, emotionally, for a pinnacle that lies far below our literary flightplan. When I reminded myself that these characters were (and were meant to be) kids, and that they couldn't play out the grand adult passions of their counterparts in Brontë in a viable way, I connected better with the work.

The film's greatest strengths, aside from those observed, are what may at first appear to be its weaknesses, its earnestness, its flickers of post-modern flippancy, its fast-cut MTV style. The music is quite good, and there should've been much more of it. The symbolism of linking the electric guitar with the feral and blue-collar Heath and the cello with the effete and white-collar Edward is another masterful stroke and one has to wonder why this pairing of two seductive and powerful instruments was not used to better and more sustained effect in the score. The one scene in which the instruments duel illuminate the action and its psychological subtext with exhilarating but, regrettably, only meteoric effect. With that lovely musical moment and a few others of true emotional thrust, the film flashes its occasional strengths a us, like the lighthouse which houses its protagonists, but as at whole it cannot keep our hopes for what it could have been from the rocks beneath.