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I was induced to read Charlotte Bronte’s “Jane Eyre,” a beloved literary classic, at the relatively early age of eleven – all because I saw this movie. I stayed-up behind on a Saturday night, with my popular aunt as company, and we watched the 1944 version of Jane Eyre, with Jane Fontaine and Orson Welles, on TV. At the conclusion, I noticed I had cried my map through a box of tissues and had become a fan forever. The next day I visited the library. Although I have seen three or four cinematic interpretations of “Jane Eyre” since that time, Director Robert Stevenson’s production, co-written for the camouflage by Aldous Huxley, John Houseman, and Mr. Stevenson is by far my celebrated. The writers and director remained faithful to Miss Bronte’s fair work and brought this darkly gothic drama to life on the titanic cloak. Filmed in gloomy and white, using noir techniques from the German Expressionist school, (chiaroscuro lighting, surrealistic settings, etc.), the movie’s gothic nature is emphasized and a forbidding mood is dwelling early on. I always wondered if Orson Welles had anything to do with the direction. I sense his influence throughout the fraction.
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The epic is region in England’s North Country in the mid-nineteenth century. Orphaned as an infant, Jane (Peggy Ann Garner as young Jane), is taken in and cared for by her aunt, the mean moving Mrs. Reed of Gateshead Hall, (Agnes Moorehead is worthy as Mrs Reed) . It is sure from the beginning that Mrs. Reed favors her hold deplorable children and despises Jane, punishing her harshly for her perceived impudence and “willfulness.” After a particularly cruel and unjust episode with her bulky, older cousin, John, Aunt Reed locks the ten year-old girl up in the dreaded “red-room,” where her uncle died. Jane has a nervous fit as a consequence of being enclosed in a situation she so fears. But not even the caring servant, Bessie, (Sara Allgood), consoles her. She tells the child, “And you ought not to contemplate yourself on an equality with the Misses Reed and Master Reed, because Missus superb allows you to be brought up with them. They will have a gigantic deal of money and you will have none: it is your status to be humble, and try to do yourself marvelous to them.”
Mrs. Reed, no longer willing to cope with her niece, sends her away to board at the prison-like Lowood School, where the food is bad and insufficient and the children are treated with inhuman severity.” Mr. Brocklehurst, (Henry Daniell), the headmaster, an evangelic hypocrite, deprives his charges of basic necessities, while lining his pockets with charitable donations. There is some goodness, however, even at Lowood. The superior school superintendent mentors Jane and shows her affection. And Helen Burns, another student at Lowood, becomes her first friend. Jane is captivated by learning. Her intelligence becomes positive to all, and despite the suffering she experiences at the institution, once her education is complete, she chooses to cease on and snort.
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One of the most astounding aspects of the knowing early scenes at Gateshead Hall and Lowood is that childhood, as we now understand it, simply did not exist in the 19th century. Children were seen as minute adults, easily corrupted and inadequate, in need of stern education, discipline, and occasional corporeal punishment. Jane’s strength of character becomes evident in that she is able to thrive in such sorry, often brutal, circumstances.
After gaining some experience as a teacher, Jane (Joan Fontaine), places an advertisement in the local newspaper for a state as governess. She is offered a job at Thornfield Manor, where she is received by salubrious housekeeper, Mrs. Fairfax (Edith Barrett) . Her young charge, the precocious Adele Varens, (an adorable Margaret O’ Brien), is the ward of Thornfield’s owner, Edward Rochester, (Orson Welles), a brooding, passionate man with a dusky past he cannot hasten. He travels frequently, but when he does return and meets Jane, there is an immediate connection between the two, although there remains the tremendous disagreement in their social class and ages – he is a worldly-wise forty, and she a mere nineteen. At first the prim, unsophisticated governess is intimidated by the tempestuous Rochester. However, under Jane’s gentle influence, the tormented man drops some of his forbidding facade and spends more time with the young woman, talking with her, confiding in her – to a point. And of course, there is a abominable secret, which inevitably will cause mountainous suffering. However, Rochester remains soundless on the topic of any and all secrets. It is at Thornfield that we meet a wide range of characters who will accomplish Jane’s future happiness. Among these formidable personages are: the bizarre Grace Poole, (Ethel Griffies), a hired woman who does the manor’s sewing in a locked attic room. She seemingly drinks quantities of alcohol and, at times, fills one flit of the house with the sound of her horrid laughter; Blanche Ingram, (Hillary Brooke), a well born, graceful woman, who has her cap region for Mr. Rochester. She and her society mother, prove nothing but disdain for Jane; Mason, (John Abbot), has a terribly unhappy achieve on Jane and Rochester, as he is the bearer of tidings which will end all their dreams.
This is an fabulous film – one of my favorites. Unlike her sisters, Charlotte rejected the convention of the shapely heroine. While writing “Jane Eyre,” she told them, “I will prove you a heroine as lifeless and as limited as myself.” Ms. Fontaine, plays a skittish, timorous, tedious Jane, who suffers silently – but she has an inner strength which will not allow her to turn away from her proper beliefs, no matter the consequences. She portrays bravery by overcoming her fears and doing, what she believes to be true, even though she and those she loves may be damage by her decisions. Jane’s and Edward’s loyal attractiveness lie in their inner selves, and their capacity to admire and grow, which makes them both such gorgeous figures.
“Jane Eyre” has many recurring themes including: relationships between men and women, their roles and limitations in society; relations between social classes; religion and morality; the need to fulfill the desires of loved ones versus the necessity to hold one’s personal integrity; the conflict between reason and passion, and, of course, Jane’s deep need to savor and be loved. However, indispensable to the chronicle is the comely, complex character of Jane herself.
Long before the women’s suffrage movement, Miss Bronte created, in the character of Jane, an smart, independent, strong-willed female, obvious to develop her station in the world. What the persona of Jane addresses in the book, as well as in the film, is certain in the following very notorious lines: “Women are supposed to be very unruffled generally: but women feel unprejudiced as men feel; they need use for their faculties, and a field for their efforts as distinguished as their brothers do; they suffer from too rigid a restraint, too absolute a stagnation, precisely as men would suffer; and it is narrow-minded in their more privileged fellow-creatures to say that they ought to confine themselves to making puddings and knitting stockings, to playing on the piano and embroidering bags. It is thoughtless to condemn them, or laugh at them, if they survey to do more or learn more than custom has pronounced essential for their sex.”
I cannot recommend this 1944 version of “Jane Eyre” highly enough and hope it comes out soon in DVD.
JANA
I’ve been having a “Jane Eyre-athon.” There are many suited versions of this gothic tale of the fight between worldliness and virtue. Many have one really outstanding element, but this version, with Orson Welles and Joan Fontaine remains overall the best. Like most, it eliminates considerable of the second half of the book, which is the really critical portion for Bronte, who is one of the finest religious thinkers of her age. There are so many bests in this version, it will always be hard to top for getting Bronte moral.
This version was shot when sad and white filmmaking was at it’s best, and Fox was known as the best at noir/gothic, with velvety blacks, and really crisp lighting and shading. One thing that helps this film be better is that it has the best script (by Huxley, Stevenson and Houseman) . The script transitions well, and really captures the major emotional elements of the narrative. This version also has the best child Jane (Peggy Ann Gardner) . I agree with many that Zelah Clarke (Jane in the 1983 miniseries) is probably the definitive adult Jane, but Joan Fontaine is equally beautiful, and many people will simply not sit through the plain miniseries. Joan Fontaine has a steady sense of refined restraint that seems very natural, and her strength is not so worthy in gleaming she is strong, but overcoming her weakness. That is a very essential mental/emotional component for getting Jane just.
Orson Welles is chubby and sexy, and plays every brand of Rochester perfectly. If he is a bit too young for the role, that is the only flaw. While I feel that Cirian Hinds (the 1997 film version) is the best Rochester, Welles performance equals him. Once again, the striking dusky haired beauty Blanche was cast with a platinum blonde, she is undeniably and stout and striking beauty, and is the best of the Blanche – easy to peruse why men like her, and why women don’t. Dinky Margaret O’Brien, who I usually bag cloying and hammy is, of course, the perfect Adele, so we have the best Adele, too! She is absolutely convincingly the daughter of a diva, a dancer and coquette, and her “spy at me” peskiness is objective good for Adele.
The supporting roles, impartial simply nail the characters as described in the book, Broklehurst, Agnes Morehead as the Aunt, Mrs. Fairfax, and young Elizabeth Taylor as young Jane’s friend all add up to develop this a masterpiece. Having Bernard Herrmann do the come by doesn’t harm a bit, either. (Film buffs will regain it of interest that some of the accurate themes and sound cues faded in this film were also dilapidated again in Hitchcock’s NORTH BY NORTHWEST.)
See the 1934 version for a laugh and film history. View the 1983 miniseries to eye the truest rhendition of the book. Peer the 1997 version for breathtaking color, scenery and Cirian Hinds’ Rochester. Recognize this to be fully joyful. This is simply an beautiful film – filmmaking at its best in every respect; and while not as letter-perfectly definitive as the 1983 miniseries, I feel it is overall the best, truest version of JANE EYRE.
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