Une jeune gouvernante tombe amoureuse de son maître sombre et complexe. Cependant, son sombre passé risque de détruire leur relation.Une jeune gouvernante tombe amoureuse de son maître sombre et complexe. Cependant, son sombre passé risque de détruire leur relation.Une jeune gouvernante tombe amoureuse de son maître sombre et complexe. Cependant, son sombre passé risque de détruire leur relation.
- Récompensé par 3 Primetime Emmys
- 4 victoires et 23 nominations au total
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Highly recommended.
I do hope the music from the series will be issued on CD.
There have been plenty of great Rochesters, George C Scott and Ciaran Hinds to name but two, and Toby Stephens may be another. The ladies certainly seem to think so.
But in Ruth Wilson we may finally have a memorable Jane Eyre. An actress who is strikingly beautiful but not superficially pretty. Who can look dour and empty, who is believably dull and innocent and yet simultaneously contains the fire for a great love story. She has fabulous poise and control. Only the smallest alterations of expression are required to communicate changing emotions bubbling below the surface. One of the reasons it fits so well into four hours is that Ruth can do 10 pages of prose with one change of expression. Adorable.
It goes along at a fair old pace. Jane is into and out of Lowood in the first 10 minutes. But the texture is right. The two central characters have sparked on and off each other very convincingly.
Will it be the one?
(After the Final Episode) There's no doubt. It is THE one. Started extremely well and got better and better. There are so many outstanding moments between the two leads and not just in the big scenes. Watch Ruth Wilson's incredible acting in the stairwell as she summons up the courage to enter the tower room to nurse Mason, balanced by Toby's concern followed by his wordless decision to trust her. Or his petulance as he welcomes her return from Gateshead, turning to delight in Jane's pleasure in coming home. The last episode is unforgettable. As good as television gets.
Magnificent.
I have seen exquisite stage and screen adaptations. I have seen brutally laughable attempts. We won't go there...
The likes of Timothy Dalton and Michael Fassbender were incredible in their own right and their performances are cherished and highly regarded.
But Stephens was made for the part and captures the dramatic depth, the complexity of Rochester and gifts him with a spell-bindingly cheeky humour that is captivating and lovable.
Ruth Wilson is sublime as always. As a young girl reading and learning from Jane's struggles and loneliness, watching Wilson in 2006 amazed me as, for me, she embodies the values, the heart and willpower of Jane at an exceptional level. Her silence is loaded with depth and psychology. Her delivery hasn't been matched.
Wilson and Stephens are a joy to behold - heartfelt and credible as loving, humorous and silently powerful soulmates.
The ensemble supporting them are on par with the leads, complementing their chemistry and helping to bring this Bronte universe to life.
From the direction, production design, soundtrack and locations, this is a wonderful adaptation that must be seen and valued by as many people as possible.
Other adaptations have a rightful place in our understanding of various aspects and interpretations of the dynamics between the characters. The novel is so multi-faceted it is only to be expected that certain details captured in contrasting ways across all adaptations will resonate differently with people.
But to me, this adaptation epitomizes the psychology, the emotional depth, the connection and the humour of this literary couple. It asserts Jane's independent singular mind and heart. I return constantly to it.
It is definitely worth your consideration. And I say this 14 years after its initial release!
It is superb, anyone who does not like this version is mad, it has all the right qualities for a classic, Ruth Wilson is superb and i cannot believe that she is only fresh out of drama school what a brilliant actress she is amazing and has at last created the perfect Jane, fiery yet innocent, sad yet elated, she has brought the character off the paper and to life, and Toby Stephens OH MY GOD what a Rochester, hes is so gorgeous, we can now see what Jane is so attracted to, he has created a Rochester that is a certain rival for Mr Darcy sex god status. But he has also showed us the tortured soul that Rochester really was, shutting himself away while all the while just wanting someone to really love and love him in return.
I have seen nearly all the adaptations of Jane Eyre and this is the best in my opinion, not since P AND P have i had this much anticipation for a Sunday nights television
Well done BBC you have done it once again.
Le saviez-vous
- AnecdotesRuth Wilson stated this mini-series as being her first big break out role since graduating drama school.
- GaffesIn the establishing long shoot of the scene, "An Ernest Proposal," Rochester is standing in the shade and Jane is walking from the sun into the shaded area. When the dialog begins, although they've maintained their positions, Jane is now standing in the shade and Rochester is standing in the sun. This is probably due to the dialog being filmed at a different time.
- Citations
Jane Eyre: Sir, I need to have a leave of absence for a week or two, to see a sick lady who's asked for me.
Edward Fairfax Rochester: What sick lady?
Jane Eyre: Her name is Reed. She's my uncle's wife.
Edward Fairfax Rochester: Uncle? You told me you had no family.
Jane Eyre: My aunt cast me out when I went away to school.
Edward Fairfax Rochester: Why?
Jane Eyre: Because I was poor. And she did not like me.
Edward Fairfax Rochester: And she sent you to Lowood without so much as a word or a visit in nearly ten years. So why does she suddenly want to see you now?
Jane Eyre: Her son John is dead. He ruined himself. She's now struck down with his misfortune. I'll only be gone two weeks, I hope.
Edward Fairfax Rochester: Two weeks? That's not possible.
Jane Eyre: You have company, sir.
Edward Fairfax Rochester: Very well. But promise me, you'll not stay with this undeserving aunt more than a week.
Jane Eyre: I cannot promise you. She is dying. I cannot set a time on that.
Edward Fairfax Rochester: Of course, you'll go. I haven't got the power to stop you. You must have some money. Can't travel without money. I haven't given you any salary yet, remember? How much have you, Jane, in whole the world?
Jane Eyre: Five shillings, sir.
Edward Fairfax Rochester: Here, take fifty pounds.
Jane Eyre: No, Sir. You only owe me fifteen. I have no change.
Edward Fairfax Rochester: I don't want change, Jane. You know that. Take your wages.
[Jane nods no]
Edward Fairfax Rochester: You're right. Better not give you all that. You might stay away for three months. Here. There's ten. Wasn't that enough?
Jane Eyre: Yes, sir. But you still owe me five.
Edward Fairfax Rochester: Then, come back for it.
Edward Fairfax Rochester: Sir, I have to ask you something else, a matter of business. You have as good as said you intend to be married.
Edward Fairfax Rochester: Really? That has been settled then, has it? You've decided that Miss Ingram is to be my bride. Now I see it. You're going to prevail upon that miserable family to find you a new situation. Ungrateful girl, admit it!
Jane Eyre: No, sir. I've told you they do not like me, sir. To offer such a service... I shall advertise.
Edward Fairfax Rochester: Devil, you will! Advertise! I wish I'd only offered you a sovereign, not ten whole pounds. Give me back nine.
[Jane puts her hands behind her]
Edward Fairfax Rochester: Jane, I have need of it.
Jane Eyre: [smiles, her hands still behind her back] No, sir. I do not trust you.
- ConnexionsEdited into Masterpiece Theatre: Jane Eyre: Part 1 (2007)
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Détails
- Date de sortie
- Pays d’origine
- Sites officiels
- Langue
- Aussi connu sous le nom de
- Джейн Ейр
- Lieux de tournage
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
- Durée58 minutes
- Couleur
- Rapport de forme
- 1.78 : 1
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