Director: Cary Fukunaga (Sin Nombre)
Novel: Moira Buffini
Screenplay: Charlotte Brontë
Producers: Alison Owen, Paul Trijbits
Starring: Mia Wasikowska, Michael Fassbender, Jamie Bell, Judi Dench, Sally Hawkins
MPAA Rating: PG-13
Running time: 115 min.
(4.5/5)When something has been adapted as often as Charlotte Brontë’s tale of true love between individuals who can’t possibly end up together but do anyways, another adaptation always seems unnecessary, especially when the story is based so closely on the original and not “updated” for a modern audience. The same argument can be made for Jane Austen whose works have also seen a barrage of adaptations over the years but something about these works, be it the nature of the stories themselves or the heroines that live within the pages, transfer beautifully into repeated adaptation. Sure, some are better than others but there’s usually at least one redeeming quality in all.
When it was announced that for his follow up to Sin Nombre director Cary Fukunaga would be taking on yet another adaptation of Jane Eyre, the initial reaction from many wasn’t one of dismay at yet another take on the already familiar story but more of a surprise that the director would select a period piece and one as recognizable as this one. The casting of the leads certainly made many happy since, for the first time, it appeared that the story would take into consideration the age disparity between Rochester and Jane, something which previous versions had mostly overlooked. So what of Fukunaga’s take on the classic novel? Does it live up to the source material and outshine previous incarnations? It’s a positive on all accounts and though it’s not perfect, it comes very close.
Moira Buffini chooses to start her adaptation in the middle of the story and we see Jane escaping Thornfield Hall and her eventual arrival at the Rivers’ home where she recuperates and begins her new life as a village school teacher. It’s in this “present” that we see how Jane became the young woman she is, in flashback sequences which recount her youth with her aunt, her eventual banishment to Lowood School and eventually her post at Thornfield where she meets and falls for Rochester. Unsurprisingly, most of the story focuses on this portion of Jane’s young life as it is here that she comes into her own and the romance which permeates and has survived well over a century develops.
The pacing and script are excellent, including key sections of the story and leaving out others which would simply slow the film down. This is adapted by someone who has an excellent understanding and knowledge of not just the basics of the story and plot but the emotions that drive these characters. Buffini understands that we have to believe in the emotions and her script relies a great deal on the actors to fill the void, avoiding the death sentence of voiceovers.
Mia Wasikowska is a wonderful Jane Eyre. She embodies the characters strength and passion and when later the story comes full circle and we see her running from Thornfield after seeing her past unfold (for those that may not be familiar with it), it’s heartbreaking that she’s willing to cast herself away from the person who she loves in order to remain true to herself and her beliefs. For his part, Michael Fassbender is both a cold and later charming as Rochester and the passion between the two is wonderful. My single complaint is that there seems to be a disconnect between the passionate moments of this story and the moments when that passion is fulfilled. Everything leading up to their kissing is titillating but when their lips actually meet, there’s no great emotional explosion. It actually seems mute and somewhat awkward. It’s a minor complaint and one that doesn’t detract from the overall enjoyment of the story, it’s not as if they’re constantly at each other, but it is a minor fault in an otherwise perfect romance.
Fukunaga’s take on this story is respectful of the characters, the themes and the audience which is, for the most part, already familiar with the material. This version of the film feels much more accessible than some of the earlier versions. It could have something to do with the actors but also with the film as a whole which doesn’t feel tied down and held back by the archaic language.
I love that Fukunaga took on this challenge and succeeded and I would love for him to tackle more classic romances but I appreciate that he is a director that likes to keep things fresh and interesting. We’ll always have his Jane Eyre and I can’t wait to see what he has lined up for us next.
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Links:
IMDb profile
Official Site
Flixster Profile for Jane Eyre
We almost went to see this last weekend, but it’s still only playing at the super-expensive Arclight theatre, and we opted to wait until it hits the cheaper spots. Reading this, I’m even more stoked to see it.
NICE!
We may not see eye to eye on alien invasion flicks Marina, but with period pieces we’re like two peas in a pod. Glad to hear it’s awesome. Can’t wait to see this on Saturday afternoon!
We’re going to see it again next week!
I am assuming come end of the year there will be an Andrew/Marina/Jandy/Me block that will get Jane Eyre into the consensus best of list. I of course loved it. It is more Bright Star than Joe Wright’s Pride and Prejudice. I have never read the book, although I have read Emily Bronte and now, by association that these sisters are a depressed bunch. Gamble’s Sad Bastard label – here BIG TIME. A lot of moping around, a lot of sublime expressions and actions but contained within a suffocating environment of candlelit rooms and perpetually bleak landscapes.
I loved the sense of place though, this is the kind of film I would rewatch just to absorb that world. Fassbender is fucking awesome in this, as is Mia whatsherface. Their first sit down scene is a standout, as is the point where Jane breaks her shell and tells Rochester off (Academy better be watching).
I also had the single worst theater experience in some time. Three phone calls made, snoring, the woman next time was nodding into me, the woman next to my wife was continually loudly asking her husband what was going on (because you know, this is a REAL complicated story), also the popcorn bag crinkling thing was killing me in this very quiet and muted story. It is a film that brings out old people and bookish people who don’t understand the basics of theater-watching is my guess, but it was insane. And at the Varsity which is usually above this.
Despite it all, I loved it. 4.5/5 as well.
Yup, solid solid solid all around. I wouldn’t say I LOVED it, but I really liked it a lot and this is one I can already foresee growing on me over time.
Like rot, I appreciate the claustrophobic feel to the whole thing since it really encapsulates Jane’s persona At the same time however, some more sweeping shots would’ve been nice as the ones that are there are sublime.
The movie has that real dragging feel to it but is so well punctuated with fantastic moments (particularly any interaction between Jane and Rochester) that it never gets dull. And it’s the perfect running time. Any longer or shorter would not have worked.
And holy cow Jaimie Bell seems to have really come into his own. More period pieces with this young man please. I’d like to formally request Hollywood give us a Fassbender/McAvoy/Bell ensemble along with Blanchett/Hathaway/Winslet co-stars.
Oh, and Dame Dench rocks as always. A real treat for the audience when she walks in front of the camera.
everybody is great in this. I particularly like that they actually make Jane plain-looking and Rochester walking that line of creep and desirable.