Jane Eyre

The story isn't well told. Situations come and go without connection as if all the audience had read the book. They had eliminated things that, in the opinion of the writer, may be garbage (which makes the situation worse)...

We are not given the opportunity to be involved in the relationship Jane/Rochester because there is any chemistry between them. There is no gradation in their relationship! Where is Grace Pole and the suspicious laughter? (They have been ignored.) Rochester has no charisma! There is no real excitement, except in the scene where they expose their love. The following scene: marriage/ discovery of the secret happens with a rate that ruins any climax! Mia Wasikowska: seems that her talent really only appears in the most dramatic scenes in which she had to use tears. Moreover, in the rest of the film her expression and facial changes are scarce.

Is a disappointment because this movie adds nothing. a movie is much more than its technical side ...

If you want to see a real adaptation see the one made by BBC in 2006

Jane Eyre (Mia Wasikowska) runs away from Thornfield Hall and finds shelter with St John Rivers (Jamie Bell), and his sisters Diana (Holliday Grainger) and Mary (Tamzin Merchant). As an orphan child, she was mistreated by her aunt Mrs Reed (Sally Hawkins) and her son. She was sent to Lowood School for Girls ruled by the cruel Mr Brocklehurst and branded as a liar by Mrs Reed. She leaves the school to be a governess for French orphan Adèle Varens at Thornfield. Mrs Fairfax (Judi Dench) is the housekeeper. Edward Fairfax Rochester (Michael Fassbender) is the often absent owner.

Cary Fukunaga brings a haunting cinematic brutal beauty to this Charlotte Brontë classic. The script has been stripped down to the needed scope. Mia Wasikowska has her sense of fragile determination. The acting is impeccable. This is less a costume romance and more a Gothic theater. It is really a painting of mood and deep feeling.

First of all, this is a gorgeous movie. Every indoor shot, close-up, and sweeping view of the landscape is an example of how cinematography can elevate a movie. Jane Eyre is a classic story for a reason, and this is as fine an adaptation I've encountered with great acting all-around, but it's the visuals and Gothic atmosphere that really made me enjoy this as much as I did. 

On the negative side, there never really seemed to be enough interaction between the characters to justify their attachments to one another. I'm speaking specifically of Jane and Rochester, who are portrayed as being totally in love with each other without much of a reason why ever seen by the audience.

That's a small complaint, though, and one that's easily overlooked if you're watching the movie for more than just the romantic aspect, like I was. I've got to admit, Mia Wasikowska was an excellent Jane. She fit into the time and place shown like a hand in a glove, naturally speaking the poetic dialogue. Michael Fassbender continues his inexorable climb to A-list actor status, and Judi Dench (who I didn't even know was in the movie until I saw her on the screen), is a welcome presence, as always. Jane Eyre isn't a perfect movie, but for me, its strengths far outweighed its flaws.

I've seen JANE EYRE in many versions, holding the Susannah York/George C. Scott edition on a special pedestal, but this new atmospheric adaptation proves to be worthwhile. It should introduce a new audience to the classic tale.

After scoring in the title role in Tim Burton's ALICE IN WONDERLAND, Aussie thesp Mia Wasikowska is compelling with a plain Jane styling here again as title character, with her story told effectively in flashback, starting with her escape from the Gothic mansion of Rochester (Michael Fassbender), getting a school marm's gig from sympathetic young pastor "Sin-jin" (St. John, played by Mr. BILLY ELLIOT himself, Jamie Bell).

Her "tale of woe", as Rochester mockingly describes it before even hearing a word, is the familiar Charlotte Bronte yarn -suffering a scary childhood at the hands of such ogres as Mrs. Reed (Sally Hawkins, in her least giggly role to date -very effective). Years at a school for castoff girls, where corporal punishment is de rigeur, merely season Jane for life's hard knocks.

The romantic sweep of her dealings with Rochester are well portrayed, and director Cary Joji Fukunaga makes terrific use of the stark locations, shot in painterly fashion. The visuals alone make this remake worthwhile, backed by the BBC but definitely not a "Masterpiece Theatre" small-screen effort like the recent re-dos of all of Jane Austen.

The big reveal regarding Rochester's "secret" is well-done, though I was a bit disappointed that the hindsight of two versions of Jean Rhys' prequel WIDE SARGASSO SEA was not taken into account here. I guess screenwriter Moira Buffini adhered to a more purist approach.

Fassbender has already suffered casting criticism as being too good looking, but his acting carries the day -combining the right amount of sinister to temper the matinée idol veneer. After all, Jane is going to fall for him eventually. I still prefer Scott or Orson Welles in the role -tough competition indeed.

Besides the principals, Dame Judi Dench is solid as a rock as Rochester's housekeeper, giving it her always-A-game approach and adding nuance to what could be merely a stock role.

This is the third version of the Bronte novel which I have seen, the others being a TV serialisation and the other the Orson Welles version. I enjoyed the former and the less said about the latter the better! This,for me, is far and away the best.The photography is top-notch and, as an avid lover of silent movies the preference for the visual over the oral puts this film high up on my favourites list. Top marks to all cast members and a bonus point for the divine Judi Dench (I have been a fan of hers since seeing her at Stratford in about 1970). To fit the whole novel into a two hour format is no mean feat, but here it is done so well that those who have read the original can supply the missing sections from their memory, while there is enough left in for the non-initiate to enjoy the tale as it stands.