Jane Eyre

RELEASED IN 1970-1971 and directed by Delbert Mann, "Jane Eyre" adapts Charlotte Brontë's 1847 novel about the eponymous character (Susannah York) who becomes a governess of a French girl at a huge estate in northern England circa 1800 after an upbringing at a harsh religious orphanage. She slowly gets to know the surly, world-wise master of the estate, Edward Rochester (George C. Scott), and his curious situation. Eventually she meets a devout clergyman, St. John Rivers (Ian Bannen), and his two sisters. Can Jane escape the shackles of a pre-Victorian world ruled by men and legalism to find love?

While this version of the oft-filmed book was released to TV, it has the vibe of a theatrical release with great northern England locations, a superb score by John Williams and quality actors. The book was criticized as "anti-Christian" when it was published, but it's actually anti-legalism. Mr. Brocklehurst (Jack Hawkins) represents a poisonous form of dead religiosity at the orphanage while the seemingly unbalanced St. John Rivers represents a much more subtle and less extreme form.

The story's about Jane navigating the pitfalls of society and religion in a fallen world and, maybe, hopefully, finding freedom and genuine love. The locations/tone/themes are akin to "Sense and Sensibility" (1995), but with an anti-legalism subtext. Jane Austen's 1811 novel no doubt influenced Brontë's book. Both movies are worth checking out, but I slightly prefer "Jane Eyre." It's the perfect antidote to CGI-laden "blockbuster" drivel.

THE MOVIE RUNS 1 hour 48 minutes and was shot in North Yorkshire in northern England (Ripley Castle, Ripley; Pateley Bridge; Brimham Rocks; and Grinton). WRITERS: Jack Pulman wrote the screenplay based on Brontë's novel.

GRADE: B+/A-

No wonder I think this is the best adaptation of Jane Eyre - I didn't realize that Delbert Mann directed it until I read it on this website. I loved this film - if memory serves me it was a made for t.v. movie. George C. Scott and Susannah York were perfectly cast. I also remember a very touching and well acted death scene between young Jane Eyre portrayed by Sara Gibson and Helen Burns portrayed by Rosalyn Landor. Jean Marsh was also good as Mrs. Rochester. The music was hauntingly beautiful. I am fortunate that I taped it when it reran on a cable movie channel several years ago. If you like the story and have the opportunity by all means watch this great version of a classic novel.

This film needs restoration. It is so dark in some places you can't really see anything. George C. Scott is flat and wooden; no emotion. Susannah York is too old for the part. The movie is too short. With all that said I still rate it a 7. Give it a try but lower your expectations.

While I may not have seen every version of Jane Eyre, this is my favorite of those encountered and definitely preferable to the more recent ones. This adaptation is made by George C. Scott who, as others have noted, positively IS Mr. Rochester. In fact, I've never really been able to properly appreciate any other version, because I keep longing to see Scott in the part. Forget William Hurt, Ciaran Hinds, or even Timothy Dalton. Scott has taken command of Rochester's role for me, just as Alastair Sim in the 1951 A Christmas Carol commands the role of Scrooge, making all others second best.

Of course this is Charlotte Bronte's classic story of an orphan, Jane Eyre, who is first sent to Lowood School, and then upon reaching young womanhood, obtains a position as governess to a little girl called Adele at Thornfield Hall. Adele's father and the lord of the manor is the enigmatic Edward Rochester. As opposite as employer and governess appear, as intimidating as Mr. Rochester seems and as wary as Jane is, the two become attracted. However, Thornfield Hall has an air of mystery about it...

Susannah York seems a bit too old and perhaps too pretty for the role, as Jane is intended to be rather plain. Charlotte Gainsbourg from the 1996 version is actually my favourite Jane portrayal. However, York is convincing enough as the maidenly but rather spunky governess. The two, Scott and York, have amazing chemistry together, an endearing tenderness in some of their scenes. It is touching to behold the interactions between the rough hewed, gruff, & brooding Mr. Rochester and the shy, gentle, principled, yet underneath potentially passionate Jane. Some have criticized Scott's Rochester as lacking passion, but I personally found him perfect in the role.

Everything else as I recall is well done, including supporting cast, Yorkshire moors scenery, haunting atmosphere, and lovely musical score.

Just a point of interest, these two stars appear together again in the 1984 version of A Christmas Carol, with Scott as Scrooge and York as Mrs. Cratchitt. I enjoy all the versions and Scott's sideburns are wonderful, but he seems to be enjoying playing Scrooge a wee bit too much! He's a lot better here as Mr. Rochester.

Of all the actresses who have attempted this role, belated congratulations to Miss Susannah York for alone understanding "Jane" to the core, a knowledge absolutely necessary to render the character in a manner that Miss Bronte herself would assuredly recognize and approve.

No other film actress has achieved Jane's self possession, self reliance, modesty, and self control in a way that consistently points to the novel itself, rather than some film director's misguided attempts to deliver a trivialized cartoon cut out. And it is these attributes that render Miss York's treatment of Jane's deeply held emotions all the more affecting, since they are kept under lock and key.

Some other actresses have come close, (Joan Fontaine) while others have evidently had no conception of what on earth they were doing (Virginia Bruce).

Suffice it to say that up to now, Susannah York has bested all others. As Mr. Roderick, George C. Scott is too old, but turns in a serviceable performance otherwise.

Plaudits also to the cinematography for achieving a truly romantic bleakness comparable the paintings of Caspar David Friederich. Delbert Mann understood the importance of landscape to this story, (another key attribute jettisoned in other versions) and for this he is to be congratulated.

Finally, the sumptuous and unforgettable score of John Williams. Forget "Star Wars" ! for this is a score of genuine musical achievement, richly romantic, stirring and melancholic all at the same time, not to mention being eminently listenable on its own terms.

Three cheers to all concerned in this A-1 production.