jjr3929
Joined Oct 2003
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Reviews21
jjr3929's rating
The Timothy Dalton version has no equal, with lines directly from the novel.
The garden proposal scene is heartfelt, especially the "I want you to pass through life at my side, to be my second self and best earthly companion."
The Cirian Hinds version lacks this wording and impact. I agree with a previous poster: the kissing scene was awful.
Hinds' portrayal of Rochester reminds me of the way abusive husbands are in films -- brutal, loud, nasty, unlikeable. He shouts, he shouts, and he shouts. The scene near the end when Jane is refusing St. John Rivers' proposal seems hurried. Lacking is the mysterious exchange in the novel and in the BBC version. It reminded me of Michael Crawford's angry Phantom.
Hinds was so superb and so pathetic (as he should have been) as Michael Henchard in The Mayor of Casterbridge (what an outstanding version!) that I named my cat Henchard and I posted his will -- powerful, as written by Thomas Hardy.
Samantha Morton kept making faces throughout Jane Eyre, and I did not like her at all -- the actor, that is.
My thoughts are that the cast viewed all the other Jane Eyre films and decided: we shall be different. Even the voice inflection will be altered.
Owning just about every film version (I think one before the Welles-Fontaine version exists) and different copies of the novel, I
kept comparing and contrasting.
Ferndean was too palatial, and Mrs. Fairfax's appearance, too startling.
This ranks way, way down on my list.
The garden proposal scene is heartfelt, especially the "I want you to pass through life at my side, to be my second self and best earthly companion."
The Cirian Hinds version lacks this wording and impact. I agree with a previous poster: the kissing scene was awful.
Hinds' portrayal of Rochester reminds me of the way abusive husbands are in films -- brutal, loud, nasty, unlikeable. He shouts, he shouts, and he shouts. The scene near the end when Jane is refusing St. John Rivers' proposal seems hurried. Lacking is the mysterious exchange in the novel and in the BBC version. It reminded me of Michael Crawford's angry Phantom.
Hinds was so superb and so pathetic (as he should have been) as Michael Henchard in The Mayor of Casterbridge (what an outstanding version!) that I named my cat Henchard and I posted his will -- powerful, as written by Thomas Hardy.
Samantha Morton kept making faces throughout Jane Eyre, and I did not like her at all -- the actor, that is.
My thoughts are that the cast viewed all the other Jane Eyre films and decided: we shall be different. Even the voice inflection will be altered.
Owning just about every film version (I think one before the Welles-Fontaine version exists) and different copies of the novel, I
kept comparing and contrasting.
Ferndean was too palatial, and Mrs. Fairfax's appearance, too startling.
This ranks way, way down on my list.
We were two of three people in the theater, and with no one behind us and beside us we were able to stand up from time to time just to keep from screaming at the dumbest film we have ever seen.
I think the script was penned by about 15 persons who were handed blank sheets of paper -- to write anything regarding these characters. Then all these chapters were gathered, with a few rewrites to connect the stories. That's how horrid this film is.
The differing speeds of the film were arbitrary -- as in, HUH, what's the purpose for that? So many scenes were stupid, ditto the props and the costuming. And what's with the leading male character's red, red lips? The abyss, the sneak-peeks, the gerbil set-up -- everything was so forced. And the dialogue -- not to mention the vulgarities -- was awful.
Upon leaving, we asked the one other viewer her thoughts. "Heavy," she replied. So I guess that's it -- we were just too dumb to appreciate so esoteric a film.
At one point, the screen was dark and quiet. We thought that was the end. What a disappointment when "action" resumed. I know we could have left, but we did not fathom that this would continue to descend into the trash it is.
I went just to see Peter Sarsgaard -- pardon the spelling. Anyway, we did get to see previews for three Jude Law films.
I think the script was penned by about 15 persons who were handed blank sheets of paper -- to write anything regarding these characters. Then all these chapters were gathered, with a few rewrites to connect the stories. That's how horrid this film is.
The differing speeds of the film were arbitrary -- as in, HUH, what's the purpose for that? So many scenes were stupid, ditto the props and the costuming. And what's with the leading male character's red, red lips? The abyss, the sneak-peeks, the gerbil set-up -- everything was so forced. And the dialogue -- not to mention the vulgarities -- was awful.
Upon leaving, we asked the one other viewer her thoughts. "Heavy," she replied. So I guess that's it -- we were just too dumb to appreciate so esoteric a film.
At one point, the screen was dark and quiet. We thought that was the end. What a disappointment when "action" resumed. I know we could have left, but we did not fathom that this would continue to descend into the trash it is.
I went just to see Peter Sarsgaard -- pardon the spelling. Anyway, we did get to see previews for three Jude Law films.