“Emma,” the first straightforward film adaptation of Jane Austen’s classic text since Douglas McGrath’s 1995 take, is arduously faithful to the text in all respects but one: The most romantic scene is interrupted by a nosebleed. This is the perfect distillment of Autumn de Wilde’s prim and winking “Emma,” a film as technicolor-lush as Sofia Coppola’s “Marie Antoinette” and as subversively fanatic about its source material as Greta Gerwig’s “Little Women.” With winsome performances, eye-popping art direction, and witty repartee, de Wilde’s adaptation is, like its protagonist, “handsome, clever, and rich.”

Twenty-five years after Gwenyth Paltrow played Emma Woodhouse, Anya Taylor-Joy has taken on the famous meddler’s bonnet.

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