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.
I know nothing of the Bronte novel; as a kid I assumed any book titled after and written by a female was a chick book, so I stayed away and buried myself in novels by Melville, Orwell, and of course books about manly things like sweaty, shirtless dudes slaying dragons.
Fortunately as I grew up that bit of misogyny faded away and I accepted heroes and heroines of all shapes and sizes. Unfortunately I never really went back to make amends for those misguided dismissals of my youth. After watching Jane Eyre, I think I may have to make a point of doing so.
Jane is an amazing character; so apparently meek, but so strikingly strong. Wasikowska conveys that dichotomy…
Charlotte Brontë’s Jane Eyre has been adapted for the screen, both big and small, many times over the years but only a few have ever truly been successful. This latest adaptation is arguably one of the most visually striking interpretations of the story so far with its atmospheric and gloomy interiors and otherworldly moors and woodlands. It is also rather liberal with the source material too, jumbling around the order and skirting around some key elements (naturally any feature film will suffer in this regard to the longer form TV-series). Some of these changes work in the film’s favour but skirting over most of the mysterious elements of the house are less wise as stripping the story of its Gothic…
An exceedingly good cast with beautiful-but-not-too-beautiful cinematography and a gripping telling of the story make this one of the best of the many cinematic attempts at this novel. Mia Wasikowska is expectedly brilliant. The occasional too-modern sounding phrasing or delivery are really the only flaws.
The cinematography captures a believable look of light coming from limited light sources (candles, lanterns, sunlight through windows) rather than flooding the interior with a wash of light to make filming easier.
Never read the book, knew nothing of the character or story, but I nevertheless enjoyed this atmospheric interpretation. (For fun I live-blogged my initial reactions to the film as I watched: chadcomello.com/jane-eyre-live-blog) Beautiful production and music, with a serviceable Michael Fassbender (whom I usually love): he is neither as menacing as he is in 12 YEARS A SLAVE nor as charismatic as his turns in X-MEN or INGLOURIOUS BASTERDS.
As in her other films, Mia Wasikowska's generally flat demeanor doesn't detract from the film, but I wish we could see more dynamics in her performances. She does have some genuinely touching moments, like when Jane's wounded ego - battered after years of a lonely and repressive upbringing coupled with internalized self-loathing - blossoms out when Rochester, however mercurial his sympathies, expresses genuine affection for her. Seeing her icy exterior form, melt, and then refreeze throughout the movie is the most compelling element of the character and the story.
The more I see this film the more I love it. It's now one of my favorites.
What was a subtle tale of growing up, of adolescense, what was a sublime story of repression and delicacy (and also in the words of Sontag sensuality and sensitivity) turned into what one might call "self-deceiving romantic female notions of love".
But that's just a thought out of all the things I liked about the film itself. A rare beauty, that's what it is on occasion.
Having recently devoured HBO's excellent first series of True Detective, I was keen to explore the work of Cary Fukunaga (the man whose direction is such a key part of Detective's brilliance). Lucky for me then that Netflix had his 2011 adaptation of Charlotte Brontë's Jane Eyre available for streaming. So it was then, on a gloomy Saturday afternoon in early August, I found myself drawn into a gothic Victorian romance, steeped in shadow and candlelight. Fukunaga keenly amplifies the novel's dark undertones, with leads Mia Wasikowska and Michael Fassbender smouldering with unrequited romance. There's a dusty, tactile quality to everything and the marriage of visuals and themes work wonderfully. Sadly what one might call "period dramas" are rarely this engaging and sumptuous, meaning that what Fukunaga and his actors have achieved is all the more brilliant.
(review coming soon)
Charlotte Bronte's Jane Eyre adapted for the big screen in spectacular fashion. The story line tells a tale of woe about Jane's struggle with reality as she deals with constant lies and deceit.
A great cast with big names such as Michael Fassbender, Mia Wasikowska, Jamie Bell and Judi Dench help make Jane Eyre an elegant and brutal film all in one.
Fassbender and Wasikowska run the show as a brilliant acting duo, you can really feel the chemistry between them. They are the Perfect Jane and Mr. Rochester.
Ah, Jane Eyre. We have a rather complicated history, the two of us, in that I've read the book three times and have, at best, passionately disliked it. I also once started watching this movie but turned it off after about five minutes because I remembered how much I disliked the book. My complaints concern both story and characters, and I could go on forever about both of them, but I won't.
As far as story goes, this movie adaptation actually manages to improve on the book. The first ten or so chapters of the book — everything up until her arrival at Thornfield Hall, to be honest — while relevant backstory, are not that interesting. Jane Eyre the movie…
After seeing the 1943 version I appreciate this one even more. It's aggressively romantic without seeming trite and over-done. Part of what makes this version so strong is that Jane as a character is drawn so detailed. Because so much of her is visible you can't help but want things to turn out well. Having Rochester not fall into the creepiness spectrum also makes a difference. The narrative structure, where we begin once she's run away, and to then go back and catch up really works for a film translation. It's also such a beautiful movie to look at, the outdoor scenes in particular. On top of just being visually pleasant they add a great deal to the feeling of the film (rather like the 2005 version of Pride and Prejudice). Even though everyone is cast much too pretty the movie's lovely.
- The Racket
- 7th Heaven
- Sunrise: A Song of Two Humans
- Chang: A Drama of the Wilderness
- Ferris Bueller's Day Off
- Teen Wolf
- The Breakfast Club
- American Pie
[after his parents have left, thinking he is ill] "They bought it. Incredible! One of the worst performances of my…
- The Plastic Age
- The Adventures of Prince Achmed
- Anna Christie
- Min and Bill
Good movies written and/or directed by women, arranged by year. Will continually add more as I see them. Click "Read…