Jane Eyre

This review comes nearly 30 years late. Nevertheless, it has to be mentioned that I chanced by a copy of this movie sometime in early 2008 and watched it repeatedly for 4 months straight! I just had to write about it! I got smitten and forgot anything else existed once I saw this movie. How ironic it is to see Literature's ugliest male protagonist portrayed by the handsomest man! yet, what a welcome irony! It suited me perfectly and more so because Timothy Dalton did full justice to his role. He delivered an astounding and triumphant performance! I have never seen anything like it! All the other actors are very good too. The whole movie was put together beautifully. I don't care what anyone says about this movie. I just love it and love it! It made me happy and satisfied. It crushes me a bit to say this but I prefer Jane Eyre 1983 to A&E's P&J, which I believe is the ultimate mini-series.

The excerpts from Jane Eyre spooked me a little back in school. I never got around to reading the book seriously knowing the story line so well. Seeing this particular production made the story come to life for me and drove me to a near frenzy. The scenes and Mr. Dalton's voice haunted me endlessly and finally led me to read the book seriously, which, of course is a masterpiece. Bravo to the whole team and especially to Mr.Dalton!! This movie is now a part of me.

I give it 10/10 rating.

Those who love the book Jane Eyre as I do (it's my all time favorite, and I re read it at least once a year) will love this version. Timothy Dalton is just a tad too good looking to be Mr. Rochester, but other than that, he does a marvelous job portraying the brooding master of Thornfield. Zelah Clarke may have been just a little too old to play the 18 year old Jane, but when I watch this movie, I don't think about the ages of the characters. The dialog from the film is taken almost verbatim from the book, which was very smart. Sure, this film might seem a little long, but it's the only version I've seen that includes part 3 of the story.

I wish the people who made this film had been involved in the newer Zeferelli version, as it would have helped that mess of a film.

I also realized the last time I watched this video that Judy Cornwell plays "Aunt Reed"! She is so versatile that I didn't recognize her. She plays Daisy in Keeping up Appearances, and also played Mrs. Musgrove in 1995's Persuasion (another wonderful adaption).

UPDATE: Got the DVD this week, and it's marvelous to see the original unedited version. There's lots more at the beginning (Young Jane at Gateshead and at Lowood.) And at the end, they've restored lots of things, (I always wondered why St. John had a slip of paper when he reveals that he knows who Jane is-- because the part where he tears it from her painting was edited out of the US VHS version!). Rosamund Oliver is in it...she was completely cut out of the VHS. As far as I could tell, they hadn't edited out any of Timothy Dalton's parts, so nothing new there, but it is great to see the whole miniseries in its entirety after all these years of enjoying the VHS. Thanks, BBC (PS...I would have paid more for a special edition DVD...with maybe some interviews with the stars...or a making of show)

If a more masterful adaptation than this one even existed, you need not look for it; you will find all and more in this near-perfect presentation of Charlotte Brontë's masterpiece.

Rarely have I seen a film that would urge me to read the novel on which it was based, but I admit to that here. Although I have not read Jane Eyre, I am convinced that I have missed very little in the way of dialogue and plot or of intensity and emotion. I only wish to explore the novel due to the immense curiosity and emotion that this masterpiece has stirred within me.

I need not divulge anything in the way of plot here. Let me just say this: if you are perhaps unsure as to whether you should watch or read the beautiful story that is Jane Eyre, I implore you to doubt no more! Every atom of might and magic that has reared Jane Eyre as a popular classic of English literature has successfully been captured in this film.

What Brontë did not bring herself, Clarke and Dalton managed to translate in the limelight with stupendous intensity. The movie's success is, no doubt, due in no small part to their acting prowess.

Love Jane Eyre or hate her, but appreciate the richness, the vitality, the truth of the story; love the characters; love the actors; all just as you would love what is great in cinema.

I had no idea what Jane Eyre was before I saw this miniseries. I had read and watched many classics before, and I believed that most classics were boring, over-worded, and overrated stories with moderately interesting plots at best. This Jane Eyre miniseries completely changed my conceptions.

Zelah Clarke is a fabulous actress, and she gives a wonderful portrayal of Jane Eyre. Her accent is delightful and her quiet, yet firm nature matches the young governess' character exactly. Timothy Dalton is an amazing Rochester. His passion and energy in the film makes me believe that he was born to play the brooding master of Thornfield Hall. I couldn't sleep at all the night after I had watched this miniseries. The plot is both haunting and inspiring. The characters are masterfully performed, and the story is incredible. This is the best version of Jane Eyre to ever appear on film.

I read the book later and was amazed at how closely this miniseries followed Charolette Bronte's writing. Jane Eyre is now my favorite film and book. If you want to see a masterpiece that will change your life, watch the 1983 BBC version of Jane Eyre.

I felt duty bound to watch the 1983 Timothy Dalton / Zelah Clarke adaptation of "Jane Eyre," because I'd just written an article about the 2006 BBC "Jane Eyre" for TheScreamOnline.

So, I approached watching this the way I'd approach doing homework.

I was irritated at first. The lighting in this version is bad. Everyone / everything is washed out in a bright white klieg light that, in some scenes, casts shadows on the wall behind the characters.

And the sound is poorly recorded. I felt like I was listening to a high school play.

And the pancake make-up is way too heavy.

And the sets don't fully convey the Gothic mood of the novel. They are too fussy, too Martha Stewart. I just can't see Bronte's Rochester abiding such Martha Stewart domestic arrangements. Orson Welles' Rochester lived in cave-like gloom, very appropriate to the novel's Gothic mood.

And yet ... with all those objections ... not only is this the best "Jane Eyre" I've seen, it may be the best adaptation of any novel I've ever seen.

This "Jane Eyre," in spite of its technical flaws, brought the feeling back to me of reading "Jane Eyre" for the first time.

The critics of this production say it is too close to the book. For me, someone who valued the book and didn't need it to be any less "wordy" or any less "Christian" or any more sexed up, this version's faithfulness to the novel Bronte actually wrote is its finest asset.

Bronte wrote a darn good book. There's a reason it has lasted 150 years plus, while other, slicker, sexier and easier texts, have disappeared.

As a long time "Jane Eyre" fan, I was prejudiced against Timothy Dalton as Rochester. Rochester is, famously, not handsome; Jane and Rochester are literature's famous ugly couple. And Timothy Dalton is nothing if not stunningly handsome.

But Dalton gives a mesmerizing performance as Rochester. He just blew me away. I've never seen anything like his utter devotion to the role, the text, the dialogue, and Rochester's love for Jane. Dalton brings the page's Rochester to quivering life on screen.

Rochester is meant to be a bit scary. Dalton is scary. Welles got the scary streak down, too, for example, when he shouts "Enough!" after Fontaine plays a short piano piece. But Dalton is scary more than once, here. You really can't tell if he's going to hurt Jane, or himself, in his desperation.

Rochester's imperiousness, his humor, his rage, his vulnerability: Dalton conveys all, sometimes seconds apart. It's stunning.

And here's the key thing -- the actor performing Rochester has to convey that he has spent over a decade of his life in utter despair, lonely, living with an ugly, life-destroying secret.

No other actor I've seen attempt this part conveys that black hole of despair as Timothy Dalton does. Current fan favorite Toby Stephens doesn't even try. Dalton hits it out of the park. If I saw Timothy Dalton performing Rochester in a singles bar, i would say, "That guy is trouble. Don't even look at him." He's that radioactive with tamped down agony.

Zelah Clarke is not only, overall, the best Jane I've seen, she's one of the very few Janes whom producers were willing to cast as the book casts Jane. No, folks who know "Jane Eyre" only from the 2006 version, Bronte did *not* describe a statuesque, robust Jane with finely arched eyebrows and pouty lips. Rather, Charlotte Bronte's Jane is, indeed, poor, plain, obscure, and little, and NOT pretty.

Zelah has a small mouth, close-set eyes, and a bit of a nose. She's truly "little." She is no fashion model. And she is the best Jane, the truest to the book.

Some described her a cold or boring. No, she's true to the book. Bronte's Jane is not a red hot mama, she's a sheltered, deprived teen whose inner passions come out only at key moments, as Zelah's do here. The book's Jane is someone you have to watch slowly, carefully, patiently, observantly, if you want to truly plumb her depths. You have to watch Zelah, here, to get to know who she really is.

I would have liked to have seen more fire in Zelah in one key scene, but that's one scene out of five hours in which she is, otherwise, very good.

In spite of its closeness to the text, this version, like every other version I've seen, shys away from fully explicating the overtly Christian themes in "Jane Eyre." Christianity is not incidental subtext in "Jane Eyre," it is central.

Helen Burns instructs Jane in Christianity, thus giving her a subversive, counter cultural way to read, and live, her apparently doomed, pinched life. It is Christianity, and a Christian God, who convinces poor, plain, obscure Jane of her equal worth, her need to live up to her ideals, and her rejection of a key marriage proposal. That isn't made fully clear here.

In any case, Charlotte Bronte wrote an excellent, complex, rich novel, and this adaptation of it, of all the ones I've seen, mines and honors the novel best of any adaptation I've seen, and that says a lot.

Other versions, that don't fully honor the book, end up being a chore to watch in many places. If you don't care about what Charlotte Bronte has to say about child abuse, or the hypocrisy of a culture built on looks and money, your adaptation of much of the book will be something people fast forward through to get to the kissing scenes between Jane and Rochester.

This version, like Bronte's novel, realizes that everything Bronte wrote -- about Jane's experiences at Lowood, and her relationship to St. John -- are part of what makes Jane's relationship to Rochester as explosive and unforgettable as it is.