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She’s taken under the wing of the garrulous housekeeper Mrs Fairfax (Judi Dench, who dominates every scene), to whom she confides, '"I've never seen a city. Via flashbacks we learn she’s an orphan who endured a painful childhood (played as 10-year-old by Amelia Clarkson), cruelly treated by her loathsome aunt (Sally Hawkins) and cousin, and the sadistic teachers at the Lowood boarding school, where her only friend dies in her arms.Īged 18, she’s hired as the governess of a French girl (Romy Settbon Moore), the ward of the wealthy Rochester, who lives in the isolated manor Thornfield Hall. John Rivers (Jamie Bell) and his two sisters. She’s taken in and nursed back to health by a pious young clergyman, St. The film opens with a distressed Jane fleeing from a house across a stormy, barren landscape (Derbyshire substituting for Yorkshire), shedding the first of many tears. The decision by screenwriter Moira Buffini, on much surer ground than her last, laughable effort Tamara Drewe, to depart from the novel’s chronological narrative works well. Judging by the film’s modest $US11 million box office in the US, my guess is it will appeal primarily to the latter group but may not win over many non-converts. The last remake, directed by Franco Zeffirelli, was released in 1996 so one can understand the intention of the producers and director Cary Joji Fukunaga to introduce the classic story to today’s audiences as well as appealing to Brontë’s fans. Rochester traditionally has been played by chaps who aren’t conventionally handsome, most notably Orson Welles in 1943, William Hurt, George C. Joan Fontaine, who starred in Robert Stevenson’s 1943 movie, was no plain Jane nor were Charlotte Gainsbourg, Susannah York and Samantha Morton. To be fair, filmmakers have often cast attractive actresses as the heroine.
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So when Rochester tells Jane in his typically arch manner, 'You are not pretty any more than I am handsome," audiences may well think he’s wrong on both counts. Likewise, while Michael Fassbender has an imposing presence as her tormented employer and putative lover Edward Fairfax Rochester, he’s more handsome and sexier than the way Jane describes the character. As the much-abused heroine of Charlotte Brontë’s 1847 novel, Wasikowska’s performance is convincing but her natural beauty defies her character’s description of herself as 'poor, obscure, plain and little." Therein lies one of the problems inherent in the latest film iteration of Jane Eyre. Despite a long-ish run time and some small literary liberties, ultimately Jane Eyre feels like it’s unspooling as it should and is a happy reminder that, yes, they do sometimes (if rarely) make them like they used to.SYDNEY FILM FESTIVAL: Even with her copper-coloured hair drawn back severely, wearing little or no make-up and shot in an unflattering, colour-desaturated light, Mia Wasikowska could not be described as plain. Complicated love, after all, can be forbidding. Fukunaga favors a gothic approach, and it serves the story well. Dame Judi Dench and the rest of the cast are equally strong. Wasikowska shares loads of chemistry with Fassbender, whose Rochester is as vital in the present day as he was in the 19th century - never mind the period dress and formal language. From carriage to walk to stare, Jane is firmly rooted, ruffled only when the promise of happiness turns shaky. Wasikowska is incredible her Jane is a young lady determined not to let the cruelties thrown her way still her vibrant soul. Simply put, the movie leaves an indelible impression. And it's brought to life by actors who don’t simply interpret but actually dwell in their characters. It’s scrupulously conceived for the screen by a director (Cary Fukunaga) with a steady hand who has infused so much feeling and power into such a murky, craggy, swoony landscape. JANE EYRE does Charlotte Brontë’s novel justice - no mean feat considering how many adaptations have come before.
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