La porta proibita

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.

Reading the novel before seeing the movie, I had my own ideas about the characters of Miss Bronte's book. The movie leaves quite a bit of the story out, but dutifully makes up for it with a strong actors and incredible cinematography.

Joan Fontaine portrays the shy, demure Jane Eyre. (or is she?) I always believed this was the story of a woman forced to be what society felt a woman should be. Once Jane becomes the governess of Mr. Rochester's ward, she feels free to be the woman she truly is: strong-willed, opinionated and passionate.

Truly, they just don't make movies like this anymore. Not just a love story, this is a tale of finding oneself and realizing one's true destiny.

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.

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

Charlotte Bronte's Jane Eyre is certainly one popular item for adaption to the big screen and small. I count 22 versions on the Internet Movie Database, but this one starring Joan Fontaine as plain Jane Eyre and Orson Welles as the brooding Rochester is probably the best known.

I had previously reviewed a 1934 version that starred Virginia Bruce and Colin Clive had done for Monogram. And as befit that studio the budget for the project was pretty anemic. And no one could possibly have believed the glamorous Ms. Bruce could be a plain Jane.

Also Joan Fontaine fresh off her Oscar for Suspicion was a far better actress. Fontaine has played glamor roles, but she dialed down the surface beauty to give a finely etched performance as the shy young thing brought up in cruelty by her aunt Agnes Moorehead and schoolmaster Henry Daniell in the institutional school she is sent.

Fontaine is great, but she is also building on the performance of Peggy Ann Garner as the young Jane Eyre who has enough resiliency to overcome a really horrible childhood. In many ways the Garner/Fontaine character of Jane Eyre echo how Joan's sister Olivia DeHavilland as Catherine Sloper was brought up in The Heiress. The miracle is that Jane Eyre doesn't become as twisted as Catherine Sloper.

Orson Welles with his stage training and magnificent voice and pieces of subtlety in his manner scores well as Mr. Rochester who carries a secret tragedy within him. He engages Fontaine to be governess for his 'ward' Margaret O'Brien and love cannot take its course because of some really big barriers. What they are you have to see Jane Eyre for.

I'm sure that 20th Century Fox must have had Suspicion in mind when casting Joan Fontaine. In both films she goes off to live in a big estate a bit apprehensive about what she's getting into. And in both films she has reason to be apprehensive.

One young actress who received no billing, but got real notice was eleven year old Elizabeth Taylor. She plays Peggy Ann Garner's friend in Henry Daniell's school and her death scene must have not left a dry eye in any theater Jane Eyre was playing.

This version of Jane Eyre sets a very high standard for those before or since to follow.