Tuyo es mi destino

I've been having a "Jane Eyre-athon." There are many good versions of this Gothic story of the fight between worldliness and virtue. Many have one really outstanding element, but this version, with Orson Welles and Joan Fontaine remains overall the best. Like most, it eliminates much of the second half of the book, which is the really important part for Bronte, who is one of the finest religious thinkers of her age. There are so many bests in this version, it will always be hard to top for getting Bronte right.

This version was shot when black and white film-making was at it's best, and Fox was known as the best at noir/Gothic, with velvety blacks, and really crisp lighting and shading. One thing that helps this film be better is that it has the best script (by Huxley, Stevenson and Houseman). The script transitions well, and really captures the major emotional elements of the story. This version also has the best child Jane (Peggy Ann Gardner). I agree with many that Zelah Clarke (Jane in the 1983 miniseries) is probably the definitive adult Jane, but Joan Fontaine is equally fine, and many people will simply not sit through the slow miniseries. Joan Fontaine was not a glossy beauty, and was usually cast as "plain" despite her natural loveliness. She has a real sense of refined restraint that seems very natural, and her strength is not so much in knowing she is strong, but overcoming her weakness. That is a very important mental/emotional component for getting Jane right.

Orson Welles is beefy and sexy, and plays every note of Rochester perfectly. If he is a bit too young for the role, that is the only flaw. While I feel that Cirian Hinds (the 1997 film version) is the best Rochester, Welles performance equals him. Once again, the striking dark haired beauty Blanche was cast with a platinum blonde, she is undeniably and great and striking beauty, and is the best of the Blanche – easy to see why men like her, and why women don't. Little Margaret O'Brien, who I usually find cloying and hammy is, of course, the perfect Adele, so we have the best Adele, too! She is absolutely convincingly the daughter of a diva, a dancer and coquette, and her "look at me" peskiness is just right for Adele.

The supporting roles, just simply nail the characters as described in the book, Broklehurst, Agnes Morehead as the Aunt, Mrs. Fairfax, and young Elizabeth Taylor as young Jane's friend all add up to make this a masterpiece. Having Bernard Herrmann do the score doesn't hurt a bit, either. (Film buffs will find it of interest that some of the exact themes and sound cues used in this film were also used again in Hitchcock's NORTH BY NORTHWEST.) See the 1934 version for a laugh and film history. See the 1983 miniseries to see the truest rendition of the book. See the 1997 version for breathtaking color, scenery and Cirian Hinds' Rochester. See this to be fully satisfied. This is simply an exquisite film – film-making at its best in every respect; and while not as letter-perfectly definitive as the 1983 miniseries, I feel it is overall the best, truest version of JANE EYRE.

Well, either Orson had a lot to do with this movie's production directly, or he had at least one early acolyte in director Robert Stevenson. A handful of Mercury Theatre/Kane actors holdover here, as well as a score by the great Bernard Herrman.

It's hard to describe which is the most jaw-dropping surprise in this movie: the Kane-esque gothic expressionism of the cinematography, or the stunning acting performances. Welles plays probably the most romantic leading role of his career as the brooding Rochester, while Fontaine postively glows in an understated turn as the title character. Of particular note are two child actors: Peggy Ann Garner, as the young Jane, who has a brief but dazzling turn to open the picture, and who was better known shortly thereafter for her lead in A Tree Grows in Brooklyn; and the never-yet-equaled Margaret O'Brien, the oscar-winner who played 'Tootie' in 'Meet Me in St. Louis' as Rochester's ward and Jane's charge. Oh, and nearly incidentally, one of Elizabeth Taylor's first performances, as Jane's doomed friend Helen.

One can only speculate how the history of film would've been different had Welles somehow started a trend in Hollywood story-telling like that of this rendition of 'Jane Eyre'. He certainly had enough classics pitched in his early and still hopeful days in Hollywood, and this film, whether or not he deserve direct credit for it, is one of the strongest -- and, despite the pacing, most concise -- retellings of a literary classic in film history. Without too much hyperbole, it's as if Charlotte Brontë were on the level of Shakespeare and Fontaine and Welles forgotten archetypes of deep myth. It's not a stretch to say that this film version is far more accessible to the modern sensibility than the book itself is, without losing the period feel and contemporary feeling of the original text.

8/10, a forgotten classic.

I found Joan Fontaine's performance as Jane Eyre as one of the more satisfying of her career,in that she was less histrionic than usual.I thought of her as not-to-the manor-born,but could,and did,achieve the position of governess in that social register of Edward Rochester by being quiet,smiling,and,in the words of Spencer Tracy,"don't bump into the furniture." Of course,Jane learned harshly,in her youth,the hard,cold facts of life.Mr.Rochester was enough to scare the wits out of any delicate woman like Jane.But,she was quiet,smiling,and didn't bump into the furniture,and,thereby,won his respect--and love.She could play the piano--and speak French,too.That helped to cement their relationship.Miss Fontaine's performance was gentle and in perfect pitch.Orson Welles' performance was an interesting study of character development,from over-bearing--even rude,to controlled kindness and deep concern for Jane's welfare.A fine film,good to watch.

Stevenson isn't willing to let us forget that his film is based on a book. The first thing we see a leather-bound volume with the title "Jane Eyre" emblazoned on the cover; the book opens to reveal the film's credits exquisitely lettered on the opening pages. We're in danger of falling in love with the book as an object before the story even begins. By the time Joan Fontaine had finished reading out Brönte's opening paragraph, with the sentences themselves before me, I was in no mood to watch the movie - I wanted to go away and read the book.

Yet when it's not reminding us that it's at heart a version of something else, it's a very good film, falling not too far short of David Lean's "Oliver Twist" - which it resembles. Both films were shot almost entirely in the studio, yet don't feel studio-bound; they feel rather as though the directors had managed to find unusually claustrophobic out-of-door (or, in Lean's case, urban) locations. In both films a portion of every frame is consumed by impenetrable shadow. (Yet "Eyre" is detailed, and makes the best possible use of every frame.) Both films take place around in a callous England of the 1920s. (I got the impression that if Brönte's characters had for some reason gone to London they would have encountered Dickens's, although this impression was destroyed when the rich Londoners visit Rochester's castle.) Both films manage to be sentimental in an agreeable way. Both have excellent musical scores. In fact, this may be Herrmann's best score of the 1940s, certainly better than the one he wrote for "Citizen Kane", which is seems better than it is because the film as a whole is a masterpiece.

If you can, make sure you see a print with a pristine soundtrack. Orson Welles isn't always easy to understand.

Jane Eyre is directed by Robert Stevenson who co-adapts the screenplay with John Houseman, Aldous Huxley and Henry Koster. Based on the Charlotte Brontë novel of the same name, it stars Orson Welles, Joan Fontaine and Peggy Ann Garner. Music is scored by Bernard Herrmann and George Barnes is the cinematographer.

After a harsh and eye opening childhood, orphan Jane Eyre gains employment at Thornfield Hall as governess to the young ward of Edward Rochester. A Difference in class and life outlook, Jane and Rochester are by definition polar opposites, but a bond exists, a bond that surely can't conquer the mysteries of Rochester the man, and the secret of his estate - can it?

Stevenson's version of the often filmed Jane Eyre has been pored over numerous times before, the constant question that arises is that of just how much input and work did Orson Welles have in the production? Knowing what we now know of Welles' 40s output, Jane Eyre undeniably has the Wellesian stamp all over it, with Fontaine herself quoted as saying the big man was often found behind the camera. This is not to decry Stevenson in any way, he himself would carve out a good career in directing further down the line, but this take on Brontë's famous novel shines because of Welles' presence in front and behind the camera.

With that comes one of only two quibbles with the film as a whole, namely it's Welles' portrayal of Rochester that dominates the film, and not that of Fontaine's Eyre. Which is quite staggering considering he doesn't enter the fray until 34 minutes into ty epic. The other problem, naturally, is that with a running time of just over an hour and thirty five minutes, it was never going to be a detailed adaptation of the novel. However, what exists is still an excellent mounted production, a film pulsing with aggressive atmospherics and simmering emotional passions.

It has been argued that the opposing acting styles of Fontaine and Welles are a distraction, I don't see it that way at all, as one of classic cinemas greatest voices emotionally spars with one of its most beautiful faces, this is monochrome gold dust. In mind of the difference of characters as written on the page, it actually comes off as inspired casting. With the production that surrounds them perfectly in keeping with the characters' state of mind.

The look is assuredly what would become known as film noir, with George Barnes' (Rebecca/Spellbound/Force of Evil) vivid black and white photography dovetailing splendidly with the matte paintings and Gothic set designs. It still amazes me to this day that this film was entirely produced on stage 2 at 20th Century Fox. So many images burn into the memory. From the shards of shadows that accompany young Jane as she stands on the punishment stool at Lowood Institution, put there by the despotic Henry Brocklehurst (a menacing Henry Daniell), to each chiaroscuro lit composition of Rochester in and around the oppressive like family home, the film has visual moodiness in abundance.

Herrmann's (The Devil and Daniel Webster/Citizen Kane) score is crucially in tune as well. Orchestral swirls to portray Jane's longing are counter pointed by the menacing down beats that attack the viewer for Rochester's bluster. Away from the two leads it's young Peggy Ann Garner who delivers the most telling performance. She gives the child version of Jane a sorrowful edge that sets the tone of the film, her early scenes with an uncredited Elizabeth Taylor (beautiful and effectively correct in vocals) are a lesson in child acting. The rest of the cast is filled out with admirable performances from Margaret O'Brien (Meet Me in St. Louis), John Sutton (Captain from Castille), Sara Allgood (The Lodger) and Agnes Moorehead (The Magnificent Ambersons).

This may not be a definitive Jane Eyre adaptation, and the compromised ending does knock it down a point, but all told it's still a top piece of classic cinema. 9/10