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Directed by | |||
| Franco Zeffirelli | |||
Writing credits | ||
| Charlotte Brontë | (novel) | |
| Hugh Whitemore | (screenplay) and | |
| Franco Zeffirelli | (screenplay) | |
| Josep Llurba | translation and adaptation | |
Produced by | |||
| Joyce Herlihy | .... | associate producer | |
| Jean-François Lepetit | .... | co-producer (as Jean Francois Lepetit) | |
| Dyson Lovell | .... | producer | |
| Bob Weinstein | .... | co-executive producer | |
| Harvey Weinstein | .... | co-executive producer | |
| Giovannella Zannoni | .... | co-producer | |
| Guy East | .... | executive producer (uncredited) | |
| Riccardo Tozzi | .... | executive producer (uncredited) | |
Original Music by | |||
| Claudio Capponi | |||
| Alessio Vlad | |||
Cinematography by | |||
| David Watkin | |||
Film Editing by | |||
| Richard Marden | |||
Casting by | |||
| Noel Davis | |||
Production Design by | |||
| Roger Hall | |||
Art Direction by | |||
| Dennis Bosher | |||
| Raimonda Gaetani | |||
Costume Design by | |||
| Jenny Beavan | |||
Makeup Department | |||
| Maria Teresa Corridoni | .... | hair stylist | |
| Richard Glass | .... | contact lens optician | |
| Judy Mitchell | .... | makeup artist | |
| Sarah Monzani | .... | makeup artist | |
| Martin Samuel | .... | hair stylist | |
| Jemma Scott-Knox-Gore | .... | contact lens technician | |
Production Management | |||
| Angela Allen | .... | post-production supervisor | |
| Riccardo Cardarelli | .... | production manager | |
| Ray Freeborn | .... | production manager | |
Art Department | |||
| John Allenby | .... | property master | |
| Dennis Bovington | .... | construction manager | |
| Karen Brookes | .... | set dresser | |
| Colin Ellis | .... | standby props | |
| Adam O'Neill | .... | draughtsman | |
| Brian Read | .... | property buyer | |
| John Rose | .... | storyboard artist | |
| Howard Weaver | .... | scenic artist | |
Sound Department | |||
| Stan Fiferman | .... | foley artist | |
| Dean Humphreys | .... | sound re-recording mixer | |
| David Stephenson | .... | sound mixer | |
| Nicholas Stevenson | .... | sound editor | |
| Tim J. Carroll | .... | consultant: Dolby Digital (uncredited) | |
Special Effects by | |||
| Jeff Clifford | .... | special effects | |
| Ricky Farns | .... | special effects (uncredited) | |
| Martin Gutteridge | .... | special effects supervisor (uncredited) | |
Stunts | |||
| Graeme Crowther | .... | stunt coordinator | |
| Joss Gower | .... | stunt double | |
Camera and Electrical Department | |||
| Marc Atherfold | .... | camera trainee | |
| Robert Binnall | .... | first assistant camera | |
| Fred Brown | .... | best boy (as Freddie Brown) | |
| Derek V. Browne | .... | director of photography: second unit | |
| Clive Coote | .... | still photographer | |
| Tommy Finch | .... | gaffer (as Tom Finch) | |
| Wick Finch | .... | gaffer: second unit | |
| Clive Prior | .... | second assistant camera | |
| Jimmy Turrell | .... | camera operator: second unit | |
Casting Department | |||
| Paula Chevallet | .... | casting: France | |
| David H. Kramer | .... | adr voice casting | |
| Oded Levy | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Richard Cooke | .... | costume trainee | |
| Jenny Hawkins | .... | wardrobe assistant | |
| Janet Tebrooke | .... | wardrobe supervisor | |
Editorial Department | |||
| Dan Edelstein | .... | supervising editor | |
| Kevin Holt | .... | second assistant editor | |
| Matthew Tucker | .... | assistant editor | |
Music Department | |||
| Stefano Arnaldi | .... | orchestrator | |
| Claudio Capponi | .... | orchestrator | |
| Angelo Giovagnoli | .... | music coordinator | |
| Claudio Messina | .... | music producer | |
| Graham Sutton | .... | music editor | |
| Alessio Vlad | .... | orchestrator | |
Other crew | |||
| Angela Allen | .... | script supervisor | |
| Sabrina Canale | .... | personal assistant: Franco Zeffirelli | |
| Juliette Caron | .... | dialogue coach | |
| Sheila Carter | .... | choreographer | |
| Marcello Daciano | .... | script supervisor | |
| Noola Delaney | .... | location manager | |
| Wayne Docksey | .... | animal master | |
| Wayne Docksey | .... | farm animals (as Wayne Doxey) | |
| Francesca Dowd | .... | production assistant | |
| Lorraine Fennell | .... | production coordinator | |
| Debbie Kaye | .... | horses and carriages | |
| John Kearney | .... | horse wrangler | |
| Gerard Naprous | .... | riding horses | |
| Rachel Neale | .... | location manager | |
| Caroline Pope | .... | choreographer | |
| Tristan Whalley | .... | international publicity | |
| Colin Bishop | .... | post-production script (uncredited) | |
| V. Renee Taylor | .... | mix assistant: New York (uncredited) | |
Thanks | |||
| Roger Arar | .... | special thanks | |
| Marian Davis | .... | special thanks | |
| Carol Levi | .... | special thanks | |
| Maggie Pope | .... | special thanks | |
| Giuseppe Proietti | .... | special thanks | |
| Alberto Soffientini | .... | special thanks | |
| Rita Vergantini | .... | special thanks | |
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| Jane Eyre | Jane Eyre | Jane Eyre | Nicholas Nickleby | The Innocents |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb France section |
Ugh. I love this book. It is a classic, and it deserves to be one. It is a wonderful story of a girl who makes it through a very difficult life, is betrayed by people and circumstances, and still manages to be strong and trust and love people. The main character, Jane, is smart and witty and honest and honorable and outspoken for her position and not unhappy with that. She knows her position, is aware that it is low, but recognizes that it does not lower her as a human being. Rochester is a Byronic hero (yes, I learned that in a lit class) and despite his faults and broodiness and, at times, distance, he is totally captivating.
The movie has none of these qualities, and it is an insult to give it the same name as the book. Jane is not true to character, and she is way too submissive. Rochester just isn't interesting. All of the funny, deep, cute, make-the-character lines are missing. I haven't seen any other versions of this story, but I sure hope they're better than this one. Bronte should be rolling in her grave at this awful rendition of her gorgeous story.