Sparks fly when spirited Elizabeth Bennet meets single, rich, and proud Mr. Darcy. But Mr. Darcy reluctantly finds himself falling in love with a woman beneath his class. Can each overcome their own pride and prejudice?
Jane Eyre is an orphan cast out as a young girl by her aunt, Mrs. Reed, and sent to be raised in a harsh charity school for girls. There she learns to become a teacher and eventually seeks ... See full summary »
Fledgling writer Briony Tallis, as a 13-year-old, irrevocably changes the course of several lives when she accuses her older sister's lover of a crime he did not commit. Based on the British romance novel by Ian McEwan.
After a bleak childhood, Jane Eyre goes out into the world to become a governess. As she lives happily in her new position at Thornfield Hall, she meets the dark, cold, and abrupt master of the house, Mr. Rochester. Jane and her employer grow close in friendship and she soon finds herself falling in love with him. Happiness seems to have found Jane at last, but could Mr. Rochester's terrible secret be about to destroy it forever? Written by
Mel Bellis in the U.K.
The teacup that Jane is drinking out of is Belleek. Belleek porcelain was first produced in 1863 and was not widely available outside Ireland until the mid-1860s while the blue mark on Jane's cup was first used in 1993. See more »
You said I was a liar. I'm not. If I were I'd have said I loved you, and I don't. I dislike you less than anybody in the world. People think you are good, but you are bad, and hard-hearted. I will let everyone know what you have done.
Children must be corrected for their faults.
Deceit is not my fault.
You are passionate.
Uncle Reed is in heaven. So are my mother and father. They know how you hate me and wish me dead. They can see, they see everything you do, and they will judge you Mrs. Reed.
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Visually masterful and authentic performances, a nice change for period drama
Charlotte Brontë's seminal literary work "Jane Eyre" has been adapted countless times and prepared in a myriad of ways from the 1943 Joan Fontaine/Orson Welles version that was whittled to an hour and a half to the 1983 BBC mini-series with Zelah Clarke and Timothy Dalton that spans five-plus hours. That certainly begs the question of why anyone, from writer Moira Buffini to director Cary Fukunaga to Dame Judi Dench, would feel inspired to recreate this coming-of-age story about love and accepting its blemishes.
Fukunaga's ("Sin Nombre") take doesn't exactly provide an amazing revelation or epiphanic justification for bringing "Jane Eyre" back to life, but it does prove that no classic can be so overdone that it becomes untouchable; even the most tried and dated of love stories can find new life. Fukanaga has given "Jane Eyre" a photorealistic makeover devoid of frills and fiercely au naturel, but no less gripping than the story's "livelier" retellings.
Fictional period dramas often feel overtly pristine and glazed over to the point of fairytale, but in watching this film, you get the sense that this is quite possibly how the story would have looked and felt if it had been true. All the way down to accents, this rendition has clearly labored over historical authenticity and it shows in the finished product.
Mia Wasikowska ("The Kids Are All Right") continues to choose spot-on independent films despite leading the billion-dollar "Alice in Wonderland" of 2010 and it continues to pay off. She's clearly adept at embodying literary characters, or at least at recreating them within herself rather than worrying about trying to become the way the majority perceives them. Her modest looks suit Jane perfectly and she can play both the fragile girl who has been so often wronged by those who were supposed to care for her and the somewhat self-assured young woman who so plainly understands right from wrong.
Buffini ("Tamara Drewe") tells "Jane Eyre" in an un-narrated flashback. The film opens with Jane dashing away from the spectre of the Thornfield estate and stumbling through the beautifully captured but cold and desolate English countryside in a state of total anguish. She arrives at the Rivers' place where they enquire as to her identity. As the voice of Mr. Rochester (Michael Fassbender) beckons her, she cannot block out the memories of her journey. The film then catches up to that point in real time and continues on to the end.
Other than a terrific performance from Amelia Clarkson as young Jane, the early chapters involving Lowood School seem to be of less significance in this version other than the very clear point to establish Mr. Brocklehurst as an insensitive headmaster and clearly spell out Jane's early traumas that have affected her perspective. The love story between Jane and Mr. Rochester and the way it affects Jane takes supreme precedence in this film and with a two- hour run time, rightfully so. Nevertheless, the short beginnings prevent the film from showing the whole scope of Jane's troubled life.
Fassbender and Wasikowska work terrifically and manage to communicate the class and age discrepancy that made "Jane Eyre" a juicy read back in the 19th Century. Fassbender does seem to let Rochester's guard down quicker than expected, but I enjoyed his choice to be less standoffish and more brooding; he determines his secret to be more a responsibility of an unfortunate nature than a loathsome burden. His love for Jane then feels more sincere.
An actress as magnetizing as Judi Dench choosing to play the caretaker Mrs. Fairfax sums up the humble attitude of this "Jane Eyre." She uses her gravitas to the effect of being the film's lone comic relief and complements the scenes rather than stealing them from Wasikowska, who is 55 years her junior.
The film itself aims for subtlety and chooses not to amp up the shock value of the story's most pivotal scenes. There's some manufactured suspense, but it's mostly natural. It ends up being the most commendable aspect of Fukunaga's vision, but maybe the most hampering as well. He creates exceptional tone and mood with the help of his wonderful cast and this seizes our interest, but his "Jane" never takes a chance with any emotional punches. A superbly crafted film, just not a resonant one.
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