#Jane eyre movie movie
#Jane eyre movie series

The first set of flashbacks include JaneвЂ™s childhood, growing up as an orphan in the company of a cruel aristocratic aunt, and then sent away to an even more cruel boarding school in which the Dickensian scamps are regularly beaten and humiliated. They ask the waif, clearly alone and in need of some assistance, what her story is. She eventually lands on the doorstep of a helpful minister ( Jamie Bell) who lives with his two sisters. This is no plain Jane.The film opens with Jane ( Mia Wasikowska from вЂњ Alice in WonderlandвЂќ and вЂњ The Kids Are All RightвЂњ) walking across a bleak English countryside (are there any other kinds?). Unwilling to betray the source material, Fukunaga falls foul of pacing in a lumpen, overtly moralistic coda, but only because what came before felt so rhythmically assured, intellectually substantial and smoulderingly romantic.

#Jane eyre movie movie

FukunagaвЂ™s movie is heavy on dialogue, but he adds visual texture in the framing of characters, dusty, naturalistic lighting and elegant shots of the decaying country stack. But itвЂ™s WasikowskaвЂ™s vigorous, unflappable presence that supplies the film with its soul. Rochester, a man for whom money and charm has enabled him to fulfil his every whim, is blindsided by Jane, a woman haunted by her past who easily holds her own in the thrilling verbal duels the couple share.Д®ven when his accent falters, FassbenderвЂ™s performance is one of tragic Wellesian grandeur. Her eventual employment as governess of Thornfield, working underneath Judi DenchвЂ™s fusspot housekeeper, Mrs Fairfax, places virtuous and chaste Jane in the salacious sights of Mr Rochester.ДЇukunagaвЂ™s eerily atmospheric adaptation keeps the corset strings tightly knotted while placing this fascinating chalk/cheese courtship against a backdrop of ritualistic Northern English decadence.

#Jane eyre movie series

Brought up with an iron fist then swiftly packed off to boarding school by an evil aunt (a nicely counter-cast Sally Hawkins), she is punished for her objections to the injustices meted out by the whip-wielding staff and receives a series of brutal lessons on the nature of mortality, hollowness of love and sublime indifference of God. She finds sanctuary with Jamie BellвЂ™s Puritan minister and begins to regale him with her вЂtale of woeвЂ™. The story opens with a petrified Jane making a mad dash from the dusky confines of Thornfield Manor and on to the misty moors. But this marks a breakthrough performance, perhaps too subtle and careful to be lavished with silverware come awards season, but worthy of it.

Unlike Fassbender, Wasikowska doesnвЂ™t have form as a leading lady: the depth, charisma and technical rigour here were largely absent from her headlining role in Tim BurtonвЂ™s CG folly, вЂAlice in WonderlandвЂ™. She delivers a turn of impeccable authority and poise, her Jane is a padlocked closet of suppressed childhood trauma, sexual confusion and aggressive self-preservation. Yet, as much as director Cary вЂSin NombreвЂ™ FukunagaвЂ™s camera is smitten by FassbenderвЂ™s lusty, mutton-chopped magnetism, itвЂ™s young Australian actress Mia Wasikowska who insouciantly tiptoes off with this film.

His embittered, gentleman-seducer take on Edward Fairfax Rochester in this sumptuous adaptation of Charlotte BrontГ«вЂ™s gothic bildungsroman is enough to give most viewers the vapours, and it dovetails nicely with his role as the poverty-line predator in Andrea ArnoldвЂ™s вЂFish TankвЂ™. With this new вЂJane EyreвЂ™, Irish leading man Michael Fassbender cements his natural flair for playing muscular, sexually domineering and morally tainted alpha males.