I feel a little ashamed that I came into Cary Fukunaga’s
lively adaptation of Charlotte Bronte’s Jane
Eyre without ever having read the book or even seen an older film version.
This is in spite of the existence of about ten versions from both cinema and television
in the sound era. I didn’t even know the story. So my approach to the film has
little to do with the film as an adaptation of a novel and story I’m familiar
with and much more to do with how Fukunaga’s telling, from a screenplay by
Moira Buffini, affected me as I watched.
I’m amazed at Fukunaga’s adept hand at directing a
nineteenth century Gothic novel for the screen when his only other feature film
work has been the Mexican gang story Sin
Nombre. The stories could hardly be more dissimilar, but his approach in
establishing two competing storylines that converge functions effectively in
building suspense in both stories. In Sin
Nombre it was Casper’s story in parallel to Sayra’s until the two meet and
travel together. In Jane Eyre the
title heroine, played by Mia Wasikowska, is the sole protagonist and she has
one story, but in this adaptation (I presume it is a function of Buffini’s
screenplay) we meet her mysteriously fleeing through barren and ragged country
until she stumbles, exhausted, upon the home of St. John Rivers (Jamie Bell) and
his two sisters. By having St. John be as ignorant of Jane’s identity and
background as we are makes us sympathize with him more later in the story. It
is only in flashback that we find out about Jane’s childhood and young adult
life, occasionally shifting back to her physical and mental recuperation with
the Rivers until past and present meet one another and the story shifts into
its third act and reconciliation.
Jane’s story is a true tale of woe. As an orphaned child
left in the care of her cold and repressive aunt, Mrs. Reed (Sally Hawkins),
she has no recourse when her cousin abuses her and then lays the blame on Jane.
She is sent off to a boarding school under the brutal tutelage of Mr.
Brocklehurst (the best Dickensian name outside of a Dickens story). I got the
sense that the scenes at the school were truncated, but to excellent effect as
at this point in the story we really want to see Jane reach adulthood so she
can get to the terrible predicament that had her crawling through the
rain-soaked moor to St. John’s feet. Jane’s takes a job as a governess at
Thornfield Hall, an imposing Gothic structure isolated in the countryside. In
the absence of the Master of the House, Mr. Rochester (Michael Fassbender),
Mrs. Fairfax (Judi Dench) keeps order.
But there are strange goings on in the house. Odd sounds
emanate in the night. Adele, the little girl whom Jane tutors, speaks of ghosts
haunting the halls. When Rochester finally arrives he is fully of mystery and
obviously guarding a secret. The middle section of the film is staged with many
of the trappings of a Gothic horror story. It is not frightening, but it is
moody, atmospheric, and occasionally chilling. It calls to mind Alfred
Hitchcock’s Rebecca more strongly
than anything else. Fukunaga often uses only candles and other available
sources to light the interiors of Thornfield Hall, the characters bathed in the
warm glow of burning wicks and lanterns contrasted by the cold and imposing
stone walls. The result is gorgeous cinematography by Adriano Goldman on the
order of Kubrick’s Barry Lyndon.
Dario Marianelli’s score features a repeated mournful violin melody that underscores
the sadness of Jane’s life, conscripted to never-ending servitude.
Though it has elements of suspense, Jane Eyre is a story of enduring love. Of course Jane and Rochester
fall in love. Or so we believe he loves her. Rochester is nearly impossible to
read. Fassbender truly had a breakout year in 2011. He was the most watchable
thing in an overblown Hollywood action spectacle. He was brilliant and tragic
as a sex addict whose life is turned upside down. And in Jane Eyre he demonstrates his deft handling of nineteenth century
literary prose. He is as comfortable in a business suit in contemporary New
York City as in period dress. As Rochester he has expressive eyes that are so
piercing he could break the will of the most determined, but not Jane. She is a
nineteenth century feminist hero. She would make Jane Austen proud. Jane Eyre
refuses to submit to anyone’s will. She is her own person and can not conceive
of marrying someone for social expediency. She is truly a wonderful match for
Rochester, whom I suspect had never met his intellectual equal before Jane.
Wasikowska plays her not as fragile, but with a strong exterior that masks the
hardships she’s endured in her very short life.
My biggest criticism is that the last half hour feels
rushed. If I had to guess, I’d say that a lot has been excised from the novel
in order to push through the climax quickly. The first 90 minutes buildup is
endlessly watchable because Jane and Rochester is great characters. I’m sure
they are wonderful as written by Bronte, but you can’t deny that Buffini’s
writing and the two lead performances bring them off the page to have them
teeming with vibrancy. After that major events and revelations occur so quickly
it was like I was blindsided. Before you know it the film has reached its
conclusion and you have to quickly put the pieces together in your head. It
probably could have done with an additional ten minutes or so, but at the same
time I’m grateful to have found a concise telling of a classic story that
brings it in under two hours. That’s quite a rarity these days.
Great production. Without the costumes, sets, locations, sound design and the wind and rain, gothic romance cannot exist.
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