Jane Eyre

This is the first adaptation of Jane Eyre that I have seen and I am thoroughly enjoying it. Ruth Wilson, a relative newcomer to TV, is fantastic in the role of Jane. She captivates the role brilliantly and her facial expressions say it all, she need not ever speak. She is an amazing actress and I hope to see her more in the future.

What can I say about Toby Stephens in the role of Mr Rochester? He was born to play the this part as he captures the brooding, mysteriousness of Mr Rochester perfectly. He is an amazing actor and extremely handsome, he has now replaced Mr Darcy as the love of my life, I didn't think it was possible girls but watch this and you will feel the same.

The chemistry between the two actors is amazing, I don't know what I am going to do with my Sunday nights when it finishes.

A lavish production in all the right ways (script, cast, direction, location, details), this is a perfect literary adaptation - very much in the heritage of the BBC's 1996 Pride and Prejudice, but perhaps even better. Toby Stephens (the son of Dame Maggie Smith) plays the brusque, flawed Mr Rochester with exactly the right admixture of arrogance and warmth, while newcomer Ruth Wilson is luminous as English rose Jane Eyre - like a swan swimming, her impassive face nevertheless conveys a wealth of feeling churning beneath. The location filming is handled deftly, with careful camera angles leaving us with the sense that we haven't seen everything yet - and oh, what locations: this is how it was always supposed to look.

Highly recommended.

Well what can one say about this adaptation

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.

...but now I am truly hooked. As I waited patiently for each hour of more Jane, I grew to admire the way the book was handled. Yes, much of Jane's past is missing, but what is there is captivating. Georgie Henley is scarily mature - more than she has a right to be - and her understanding of young Jane's gravity and passion was wonderfully portrayed.

When Ruth Wilson took the scene, I didn't see at first how she was the unearthly Jane I had read. But it became clearer and clearer, and by far she is the most human and understandable Jane yet. Her face speaks volumes as she says nothing. "That face," comments Toby Stephens' Rochester. It is true. Though we see her silent face many times, we have no problem guessing exactly what she is feeling.

At first, I thought Toby was disappointing. I quite liked the sarcasm of William Hurt in the 1996 version, and Mr. Stephens seemed more brash than sarcastic, more flirting than teasing. But it was the chemistry that quite obviously grew between these two characters that has solidified Toby Stephens as Edward Fairfax Rochester for me. For the first time in a movie version, I realized how much the two had become friends first, and then soul mates.

Two other things were handled extraordinarily. The sex and the scary. From dark corridors and floating candles, burning beds, portraits of mad people and blood dripping, Susanna White got her Gothic right. It is almost a ghost story. This suspense keeps the story from being overly lovey-dovey, and shows a real contrast between the white taffeta-covered aristocracy, and the darkly-clad Jane in Rochester's dim study.

As for the X factor, this is not Jane Austen. Women can have conversations with men alone in rooms. Dark-haired, exotic beauties can seduce with a look, cheat with a smile and sin the world round. All of it is not afraid to show up in this version. Rochester and Jane's connection, displayed quite innocently and platonic in some versions, blazes with passion in this. The flashbacks in the final hour of series are some of the steamiest and most emotionally charged parts of this production.

It's heart-warming, passionate, suspenseful, full of beautiful scenery and costuming; all in all, a whole 4 hours of excellent entertainment. Don't miss out.

Jane Eyre is a tough adaptation. You need a host of competent actors for the minor roles, good child actors and a brooding, fiery Bronte hero for Rochester, capable of attaching a variety of women and inspiring devotion in one of literature's great heroines.

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.