And now the twenty-sixth cinematic adaptation of the most famous work of Charlotte Bronte will be released on the screens. Director Carey Fukunaga, a newcomer, sensibly decided not to distort the original, directed Jane Eyre so that after viewing you can confidently assert (a little sin against the truth) that you have read the novel. Or, at least, you know its content well.
I think it makes no sense to talk about the plot especially, because the majority of those interested in the movie already know it. Here we can only mention one thing, let's say an innovation, namely: the story begins from the middle, and everything that happened before is revealed through a series of flashbacks. Foreshadowing the fears of fans of the novel, I will say that this does not in the least spoil the picture and does not leave even a hint of a feeling of understatement in the uninitiated viewer.
As for the rest, Moira Buffini, the author of the adaptation of the original for its latest movie adaptation, does not seek to deviate far from the canon; even a slightly truncated ending does not spoil the overall impression of the picture, because, albeit in part, it still shows us the legitimate Happy End. By eliminating insignificant moments and leaving only the most necessary, Buffini thereby quite competently transferred more than one and a half thousand words of the book for two hours of screen time.
Another striking sign of the conservatism of Jane Eyre; is a fairly complete disclosure of the Gothic component of the novel: a light fog, gloomy corridors and halls, often overcast sun and piercing wind, poor lighting of the premises (which, however, is due to the duration of the action) and, finally, mysterious screams, blows and even accidents – all this evokes a certain anxiety, but the main attention is still focused on the love line.
Here the performer of the main role, Mia Wasikowska, `` Burton's Alice '', who managed to combine not the most outstanding appearance (the make-up artists also tried) and modesty on the verge of meekness with emotionality and a bright head. Unfortunately, despite all her facial expressions, the experiences of her heroine were not fully disclosed, which gave way to the aforementioned romanticism and gothic. Things are different with Amelia Clarkson, who plays little Jane. The girl played well, on a level, but with the appearance the creators here missed a little - – I personally cannot match the child's puffy and bulging face with the delicate features of her adult version, even taking into account the age difference.
In addition, Michael Fassbender and Judy Dench delighted with their play. About the second, venerable lady of Hollywood, there is nothing special to say and ndash; she succeeded in complete transformation into a good-natured housekeeper. It is worth dwelling in more detail on the first, rising star of the Dream Factory. Fassbender, however, is not Orson Welles, but before his game he falls short of only a little, brightly and fully playing the image of the Byronic hero Rotchester. Attractive in itself, with his acting, his tragedy and his secret, he, like a magnet, attracts the attention of the viewer, and at times even slightly, but sets off the image of his beloved.
As for the general visual component of the movie, the atmosphere of the book in particular and of the nineteenth century as a whole was recreated just fine, plunging the viewer into the contemplation of spacious heather fields, gloomy but luxurious halls and rooms, flowering forests and strict architecture. Plus, the classic outfits, appearance and lively behavior of the characters simply do not give up hope of leaving the hall before the credits begin.
Thus, another reincarnation of `` Jane Eyre '' was very successful, carefully and neatly transferring most of the basic postulates of the book to the screen and demonstrating just an excellent picture, thanks to which we can confidently declare that it not only did not hit the face in the dirt, but also,
The Topic of Article: Review of the movie by Jane Eyre. Jane Again.
Author: Jake Pinkman |
