Every film that has ever been nominated for an Academy Award in any category. Enjoy!
After a bleak childhood, Jane Eyre goes out into the world to become a governess. As she lives happily in her new position at Thornfield Hall, she meet the dark, cold, and abrupt master of the house, Mr. Rochester. Jane and her employer grow close in friendship and she soon finds herself falling in love with him. Happiness seems to have found Jane at last, but could Mr. Rochester's terrible secret be about to destroy it forever?
After finally completing the novel, this was absolute bliss. Dario Marianelli's score couldn't be more perfect, and Wasikowska and Fassbender are beautifully matched. Fukunaga's direction is just gorgeous, but that just goes without saying.
I knew you would do me good in some way. I saw it in your eyes when I first beheld you.
I'm not a huge fan of romantic melodrama period films. I don't exactly seek them out in any way, shape, or form. The quote at the top is a good example why. It's not every actor that can pull off dialogue like that and not every viewer that wants to hear it.
I have to say that the cast in Jane Eyre easily won me over. Not only do they make the dialogue believable they all inhabit their characters perfectly. The key to this film is the chemistry between Mia Wasikowska and Michael Fassbender. Considering how little actually happens between the two characters to make it believable that they are in fact in love is a testament to their skills as actors.
Jane Eyre has stuck in my head for the last week -- its tranquility and beauty, along with its intriguing female-driven tale, has captured my interest. Over the last year, I've only reached halfway through Bronte's novel (sometimes I can be an extremely slow/lazy reader) - but Fukunaga's adaption is something to be reckoned with.
Fukunaga crafts a visually alluring film - from the cinematography to the way scenes are shot just so carefully, the gloominess of this gothic period drama are just wonderfully encapsulated. From the rain/moor scenes to the close-ups of the actors, Fukunaga creates such a suitable tone throughout his film. Dario Marianelli (one of my favourite film composers) once again writes a great score, but compared…
Not without its minor flaws, this sumptuous and haunting retelling of the sweeping gothic melodrama feels relevant, authentic and arresting thanks to Fukunaga’s assured direction, Marianelli’s transcendent score and, most notably, Wasikowska and Fassbender’s nuanced, moving performances.
After Jane Eyre, Cary Joji Fukunaga went on to direct the very solid mini-series True Detective, an unremittingly dark dive into modern forms of evil. And it would seem there's little in common with the breathtaking costume/period drama on display here. But I notice that in both cases, Fukunaga is interested in bringing the supernatural to life as an emotional and psychological force in characters' lives, but never letting it cross the line into the realm of the literal. These are realistic people reacting to their own mythologies, ghost stories, paranoias. Their emotions, pain and memories are what give psychic fuel to their pantheons of spirits. Fukunaga quite wisely uses his limited run-time to tell Jane's story as a series…
I am unfamiliar with the story of Jane Eyre and this film being my first encounter with Charlotte Bronte's classic piece of literature. First reflections upon finishing the movie are how much I like the core of the story (Bronte sisters know how to tell a dark and often morbid tale of love that is the complete antithesis of Jane Austen's vision) but that I feel much of what magic the novel possibly contains feels lost in the fragmented structure they chose to do the film in.
It was indeed hard to follow at times as key elements to plot points that seemed abruptly abandoned resurfaced later on be revealed. This was frustrating at first but ultimately is done this…
"Do you think that because I am poor, plain, obscure, and little, that I am souless and heartless? I have as much soul as you, and full as much heart."
Wasikowska, Fassbender and Bell are all fantastic in this sumptuously filmed period drama but a stagnant middle fails to hold it altogether. Personally speaking, was hard to remain interested. Also comparable to Fish Tank to an extent.
Overly dramatic, but that's what you might expect from a mid 19th century romance.
The direction is clumsy in parts, as are some of the dramatic gimmicks. The story is strong, though, and some timeless moral questions are raised.
I think the book might be better.
Dreary. But, then, exquisite.
Admittedly, it took a bit of time for my automatic mental comparisons to the 1996 Miramax version to cease so that I could get absorbed in this one. Actually, it was my finding myself absorbed, amazed, that made me realize the comparing had stopped.
My corresponding reading: Jane Eyre by Charlotte Brontë.
Fassbender is great, as always. Wasikowska serves the role well. Fukunaga delivers some great shots. But why do we need the in medias res opening? And Jamie Bell's St. John never feels present enough to create any kind of tension in the final act.
*Reviewed two weeks after viewing*
Surprisingly enjoyable. It's modern direction, editing and score make it a lot more accessible than a lot of other period pictures of the sort. Plus, the interminable sequences of spookiness are more effective than 98% of modern horrors. I can't wait for Cary Fukunaga's upcoming It films.
Great photography and atmosphere go a long way...but maybe not always far enough.
You, sir, are the most phantom-like of all.
What initially seemed to be just another period piece actually speaks to the complexities of love in a time when love was something you do instead of feel. Mia Wasikowska gives the role weight enough to sink a ship, and while I'm not completely taken with Fassbender's Rochester, he fills the shoes of the Byronic counterpart just fine.
the cinematography is so beautiful i almost cried
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