During her long period of recuperation, keeping her deep inner ache private while, Jane-like, getting on with things, the young girl has been drifting in and out of pained and chronologically ordered memories of Gateshead, Lowood, and Thornfield.
She sits knitting in her simple cottage in the depths of winter when an urgent fist bangs on the rough door. As she eases it cautiously open, a swell of violin and John Rivers stands at the door, come to inform her of her inheritance but equally to fumble through the repressed emotions drawing him to Jane.
Walking the moors where she once was lost, she rejects not the selfless mission but instead the icy loveless union St. John proposes. The whole of Jane is in the pure religious ecstasy with which she blindly advances towards a new and final servitude in a resolutely earthly paradise. In the novel Jane is memorably reading in the window-seat at Gateshead when seeking refuge from Reed family hostility, and later her opening a window at Lowood punctuates eight years of routine with an ardent desire for liberty that will, a page later, find her advertising for her first position.
The scene progresses from dark to light, inside to outside, from static confinement to a liberating mobility requiring further interpretation. A certain cumulative effect makes clear how that thin invisible pane, a nothing and so much, separates, promises, imprisons, beckons.
From its swelling expanse of possibility she ventures tentatively into a tightly restrictive garden before settling down by the window, where she opens her book to begin sketching. Taken together, the images speak eloquently of spiritual yearning and confinement, of promise and circumscribing frames.
It is also an open field on which that soul will flee until it knows where it should be running. Such mixed results should not surprise, given the particularly intractable nature of that original, where the virtually insoluble problems only begin with, say, the casting of Jane and Rochester—those misshapen figures with whom a movie audience must, of course, fall in love. It is what an adaptation must be, a complex new significance created by selection, a partial and partial reading.
Jane Eyre, Monogram Pictures, Director: Christy Cabanne. Screenplay: Adele Comandini. Actors: Virginia Bruce, Colin Clive. Jane Eyre, 20 th Century Fox, Director: Robert Stevenson. Actors: Joan Fontaine, Orson Welles. Jane Eyre, Miramax, Director: Franco Zeffirelli. Screenplay: Franco Zeffirelli.
Actors: Charlotte Gainsbourg, William Hurt. Jane Eyre, Focus Features, Director: Cary Joji Fukunaga. Screenplay: Moira Buffini. Actors: Mia Wasikowska, Michael Fassbender. Director: Julian Amyes. Screenplay: Alexander Baron. Actors: Zelah Clarke, Timothy Dalton. Director: Susanna White. Screenplay: Sandy Welch. Actors: Ruth Wilson, Toby Stephens. Toggle navigation Menu. Jane Eyre. The newest film adaptation of Jane Eyre , written by Moira Buffini and directed by Cary Fukunaga, may very well be the best; there are many of the things, and I have not seen enough of them to have the authority to guess.
Certainly, it is more faithful to the novel as well as a more consummate piece of filmmaking than the version ; it does, however, replace Orson Welles and Joan Fontaine with Michael Fassbender and Mia Wasikowska, which is probably to some people's tastes, but I know that for myself, "brooding hero of a Victorian potboiler" is the very first thing I think of when I look at Orson Welles.
Reed Sally Hawkins , and eventually packed off to a savage school for troublesome young ladies, where she learns enough that when she has come of age, she has the skills and fortitude to seek employment as governess at Thornfield Hall out in the countryside.
There, she finds the first friend of her sad life in the form of housekeeper Mrs. The mutual attraction between Jane and Rochester is already in danger thanks to its considerable unconventionality, but there is also A Secret in Thornfield Hall, and it is anyway plainly the case that this is not the sort of story that ends with a blithe, untroubled triumph for everybody we like. The problem with Jane Eyre has always been that Jane and Rochester are thrown together by narrative contrivance rather than by inevitability - Charlotte's sister Emily did a far better job of presenting a convincing relationship between two people who just don't make any sense together with her Wuthering Heights.
The new film, with its casting of the sullen, haunted Fassbender and the tentative and pensive Wasikowska, does not exactly fix this issue, but Fukunaga pushes through hard enough that it comes as close to working as I imagine it's prone to. More importantly, there's so much that works so damn well in this version that what could in another context be a film-breaking flaw mostly doesn't even register.
What works, predominately, is the look of the thing. This is one of the most extraordinarily physical costume dramas of recent vintage, establishing a singularly immersive version of midth Century England that you can almost feel and smell: and if it were not enough that production designer Will Hughes-Jones and costumer designer Michael O'Connor did such fine work creating an unusually persuasive reality for the story to unfold in, their collaboration with each other and with cinematographer Adriano Goldman is choreographed with a precision that most costume dramas, frankly, don't see fit to bother with - not when it's easy enough to put together splashy sets that look impressive and be done with it.
One of the most characteristic things about Jane Eyre is that everything about it, visually, is driven towards a uniform greyness, which is much better in the execution than I've just made it sound. The drabness of the look marries nicely with the romantic leads' emotional constipation; it adds to the omnipresent sense of damp seeping from the moors. That's the other great thing about Jane Eyre 's visuals: its thick, moody atmosphere. She sought refuge Rated PG for some thematic elements including a nude image and brief violent content.
Did you know Edit. Trivia The location of Jane Eyre's cottage was so isolated that there was no mobile phone reception. A member of the crew had to be stationed in a nearby phone booth with a walkie talkie in case the crew needed anything.
He didn't complain, however, as the local residents brought him tea and biscuits throughout the day. Goofs The teacup that Jane is drinking out of is Belleek. Belleek porcelain was first produced in and was not widely available outside Ireland until the mids while the blue mark on Jane's cup was first used in Quotes Jane Eyre : I have lived a full life here.
User reviews Review. Top review. Top marks all round and a bonus point for This is the third version of the Bronte novel which I have seen, the others being a TV serialisation and the other the Orson Welles version. I enjoyed the former and the less said about the latter the better!
This,for me, is far and away the best. The photography is top-notch and, as an avid lover of silent movies the preference for the visual over the oral puts this film high up on my favourites list. Top marks to all cast members and a bonus point for the divine Judi Dench I have been a fan of hers since seeing her at Stratford in about To fit the whole novel into a two hour format is no mean feat, but here it is done so well that those who have read the original can supply the missing sections from their memory, while there is enough left in for the non-initiate to enjoy the tale as it stands.
FAQ 1. Who else has played Jane Eyre on screen? Details Edit. Release date April 22, United States. United Kingdom United States. Official Facebook Official site. English French. Box office Edit. Technical specs Edit. Runtime 2 hours. Dolby Digital DTS. Related news. Nov 1 Den of Geek. Contribute to this page Suggest an edit or add missing content. Top Gap. By what name was Jane Eyre officially released in India in Hindi?
0コメント