Jane Eyre

Jane Eyre (Mia Wasikowska) runs away from Thornfield Hall and finds shelter with St John Rivers (Jamie Bell), and his sisters Diana (Holliday Grainger) and Mary (Tamzin Merchant). As an orphan child, she was mistreated by her aunt Mrs Reed (Sally Hawkins) and her son. She was sent to Lowood School for Girls ruled by the cruel Mr Brocklehurst and branded as a liar by Mrs Reed. She leaves the school to be a governess for French orphan Adèle Varens at Thornfield. Mrs Fairfax (Judi Dench) is the housekeeper. Edward Fairfax Rochester (Michael Fassbender) is the often absent owner.

Cary Fukunaga brings a haunting cinematic brutal beauty to this Charlotte Brontë classic. The script has been stripped down to the needed scope. Mia Wasikowska has her sense of fragile determination. The acting is impeccable. This is less a costume romance and more a Gothic theater. It is really a painting of mood and deep feeling.

The oft-filmed Charlotte Brontë's Gothic novel has been adapted into TV and film more than two dozen times. Here's a summary of what works and what doesn't in this 2011 version:

THE GOOD:

• Cary Fukunaga's direction. He preferred natural light for much of the film, forgoing camera lighting and instead opted for candles which created the proper dark, moody and gloomy atmosphere that matches Rochester's temperament perfectly. He used some hand-held camera work to great effect, but not too much so that it became distracting. Thornfield Hall, Rochester's expansive mansion looked like something Count Dracula could comfortably settle in. It practically becomes its own character here and adds the necessary spookiness we come to expect from this Gothic tale.

• Judi Dench as Mrs. Fairfax – When does Dame Judi ever disappoint? Apparently never. Even in small roles, the scenes she's in are one of the best ones in the movie. There was an important scene involving Jane and Rochester where Mrs. Fairfax didn't utter a single word, but she made quite an impact just with her expression.

• Mia Wasikowska as Jane. A lot of the issues I have with literary adaptation is that the supposedly plain heroine usually ends up being played actresses who are too glamorous for the role. Fortunately in this one, Wasikowska was believable as a plain young girl, though she obviously is a pretty girl. At 18, she's also the perfect age for the role. If I were to nitpick though, she's not exactly 'little' as she's described in the novel as Rochester doesn't quite tower over her. In any case, I thought she did a wonderful job carrying the film. She captures the essence of the strong-willed character who holds her own against her much older subject of her affection, and one who despite 'not being well-acquainted with men' doesn't seem intimidated by them.

• Michael Fassbender as Rochester. In many ways, we evaluate a Jane Eyre adaptation by its Rochester, and as long as we use that 'calculation,' I think he measures up quite well. He has a strong screen presence and is the kind of actor who's usually the best thing even in a so-so film, and he makes the most of what's given to him. Even with the relatively short screen time, which is less than what I had hoped, he's able to make us care for Rochester.

THE NOT-SO-GOOD:

• This cliff-notes version feels way too fast. With a complex story like this, no doubt it'd be a challenge for any filmmaker, no matter how talented, to pare it down into a two-hour movie. So it's inevitable that this film just moves along too quick for me. Of course that is not Fukunaga's fault and he really made the best of it, but still this version just leaves me wanting more. I guess this is perhaps a more 'accessible' version for the crowd that otherwise would not watch JE. But to me, the story is compelling enough that an extra half-hour would only enhance the viewing experience and allow enough time for the characters to develop an authentic connection.

• Dialog omission. This is perhaps a result of being 'spoiled' by the comprehensive 1983 version (which at 5.5 hours is perhaps the longest screen adaptation). Of course it's impossible to include every single dialog from the book, but I was hoping at least some of the important ones are kept. The famous quotes such as "I am no bird; and no net ensnares me", "Do as I do: trust in God and yourself", "Reader, I married him" are not spoken in this adaptation. I also find some of the delivery lacks bite, y'know that certain oomph that an actor does to bring those timeless words to life.

• Jamie Bell seems miscast. Now, keep in mind I really like Jamie as an actor and have said so many times on my blog (http://tinyurl.com/mozzs5) However, I don't feel he's right for the role of St. John Rivers. Firstly, when you've already got someone as striking as Fassbender as Rochester, I'd think the casting agent would have to find someone much fairer than he. No offense to Jamie, but that's not the case here and he certainly doesn't fit the book description of 'tall, fair with blue eyes, and with a Grecian profile.' Now, physical appearance aside, he also lack the solemn and pious sensibility of a Christian missionary.

• Unconventional storyline – Moira Buffini's script tells the story in flashback mode instead of following the novel's linear storyline. The movie starts off right as Jane is leaving Thornfield, which is right smack dab where the main crisis of the story begins. Now, I can understand that it's done to make it less tedious, yet it gets confusing at times to figure out which part happens in the past or present. I think for someone not familiar with the book, the shuffled time line might be a bit tough to follow.

IN CONCLUSION, despite leaving the theater wanting more, I do think this is a worthy adaptation. The production quality is top notch, with gorgeous cinematography, affecting light work and music that serve the story well. There is even one scene of Jane and Rochester that Fukunaga took liberty with that's quite tantalizing. It caught me off guard but I must say that scene left me breathless and is an effective way to convey how much Jane longed for her true love.

But in the end, even though I adore Fassbender, he still hasn't replaced Timothy Dalton as my favorite Rochester. Sure, the production quality of this one is superior, but what makes a Jane Eyre story so fascinating and memorable are the heart-wrenching connection between the two main protagonists and the dialog spoken between them, so in that regard, the 1983 version is still the one to beat.

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.

~Steven C

Charlotte Brontë's "Jane Eyre" has been my favorite book since I was 11 years old. The tale of a feisty orphan-girl-turned-governess who finds true love in a spooky mansion and ultimately redeems a tormented hero has made it to the top of every "Best Love Stories" list since it was first published in 1847, and with good reason. It's the perfect Gothic novel, melding mystery, horror, and the classic medieval castle setting with heart-stopping romance.

There have been at least 18 film versions of "Jane Eyre" and 9 made-for-television movies--27 in all! I have seen most of them, some multiple times–-both out of my deep love for the tale, and as part of the research for my novel "The Secret Diaries of Charlotte Brontë," the true story of Charlotte's remarkable life, her inspiration behind "Jane Eyre," and her turbulent, real-life romance.

Every screen version of JANE EYRE has its merits. I especially loved Timothy Dalton's portrayal of Mr. Rochester in the 1983 mini-series, and the 2006 Masterpiece Theatre mini-series starring Ruth Wilson and Toby Stephens. I was very curious to see how the new JANE EYRE adaptation from Focus Films would measure up. I am happy to report that the film, which I saw last night at an advance screening, is very good indeed, with marvelous visuals, terrific performances, and enough unique elements to make it a worthy new addition.

The most notable distinction that sets this film apart from the rest is its structure. Rather than telling the tale in a linear fashion, it begins at a crisis moment later in the story, and tells the majority of the tale in flashback–-which works wonderfully well, enabling screenwriter Moira Buffini to effectively compress a long novel into a two-hour time span.

The movie opens as Jane is fleeing Thornfield after having discovered Mr. Rochester's dark and heartbreaking secret. We fear for her as she becomes lost on the stormy moor. The mystery continues as St. John Rivers (well-played by a sympathetic yet appropriately stern Jamie Bell) and his sisters take her in. As Jane ruminates about the past events that led to her escape, we are treated to the story in flashback.

The casting of Mia Wasikowska as Jane Eyre also sets this production apart, since she is closer in age than most actresses who've played the role to the character in the novel, who was about 18 years old in the Thornfield section. Although I wish Mia's Jane was a bit more "swoony" over Mr. Rochester earlier on (yes, she is supposed to be stoic, but I missed that phase where we get to see her blossom as she falls in love with him, and then is utterly crushed when she believes him to be in love with Miss Ingram), Mia truly inhabits the role, beautifully portraying Jane's sense of self-respect, integrity, and restraint, as well as her passion and vulnerability.

Michael Fassbender embodies Mr. Rochester with the ideal blend of charisma and sinister brooding, while at the same time allowing glimpses of his underlying desperation and the wounded depths of his soul. Sally Hawkins as Mrs. Reed effectively portrays the icy ogre who menaces the young Jane (a spirited and appealing Amelia Clarkson.) And Judi Dench, as always, gives a superb performance as housekeeper Mrs. Fairfax.

The film's locations do justice to the novel's often gloomy, atmospheric tone. Director Cary Fukunaga makes excellent use of Haddon Hall in Derbyshire, one of the oldest houses in England, as Thornfield Hall, emphasizing its dark, Gothic, masculine feel. The exterior locations--gardens, cliffs, craggy rocks, stone walls, and seemingly endless fields--make an arresting, dramatic backdrop for the story. You truly feel as though you are in the middle of nowhere.

My only minor gripes are that when Mr. Rochester's secret is revealed, it feels a little too prettified, and the ending was too abrupt for me. But that aside, the filmmakers have done a masterful job translating the novel to the screen. I highly recommend it! --Syrie James

First of all, this is a gorgeous movie. Every indoor shot, close-up, and sweeping view of the landscape is an example of how cinematography can elevate a movie. Jane Eyre is a classic story for a reason, and this is as fine an adaptation I've encountered with great acting all-around, but it's the visuals and Gothic atmosphere that really made me enjoy this as much as I did. 

On the negative side, there never really seemed to be enough interaction between the characters to justify their attachments to one another. I'm speaking specifically of Jane and Rochester, who are portrayed as being totally in love with each other without much of a reason why ever seen by the audience.

That's a small complaint, though, and one that's easily overlooked if you're watching the movie for more than just the romantic aspect, like I was. I've got to admit, Mia Wasikowska was an excellent Jane. She fit into the time and place shown like a hand in a glove, naturally speaking the poetic dialogue. Michael Fassbender continues his inexorable climb to A-list actor status, and Judi Dench (who I didn't even know was in the movie until I saw her on the screen), is a welcome presence, as always. Jane Eyre isn't a perfect movie, but for me, its strengths far outweighed its flaws.