After a wretched childhood, orphaned Jane Eyre yearns for new experiences. She accepts a governess position at Thornfield Hall, where she tutors a lively French girl named Adele. She soon finds herself falling in love with the brooding master of the house – the passionate Mr. Rochester. Jane gradually wins his heart, but they must overcome the dark secrets of the past before they can find happiness. When Jane saves Rochester from an eerie fire, she begins to suspect that there are many mysteries behind the walls of Thornfield Hall. Her fears are confirmed when Rochester’s secret past is revealed, destroying her chance for happiness, and forcing Jane to flee Thornfield. Penniless and hungry, she finds shelter and friendship in the shape of a kind clergyman and his family. But she is soon shocked to uncover the deeply hidden truth of her own past. This lavish and sensual new version of Charlotte Bronte’s classic novel is modern and moody, timeless and romantic. Starring Toby Stephens as Mr. Rochester, Ruth Wilson as Jane, and Francesca Annis as Lady Ingram. You may think the world doesn’t need another adaptation of Jane Eyre–but you’re wrong. This new and wonderfully lush Masterpiece Theatre version, directed by Susanna White (who directed the equally sumptuous miniseries of Bleak House starring Gillian Anderson), contrasts Jane Eyre’s vivid inner life with the harshness of her outer life; both Georgie Henley (The Chronicles of Narnia) as the young Jane and newcomer Ruth Wilson express the inner vitality of the outcast orphan girl whose spirit captures the heart of the rough, charismatic landowner Mr. Rochester (Toby Stephens, Die Another Day). Stephens, it must be said, is far too conventionally handsome for the part, but he makes up for it by capturing Rochester’s abrasive and mercurial temperament. (Wilson’s looks are perfect; at one moment she seems awkward and homely, at another utterly luminous.) Jane Eyre is so often remade because the story is so potent; this production brings all of the novel’s juice and passion to the fore, emphasizing the characters’ sensual experience while staying true to the restrictions and mores of the period. All in all, exceptional. –Bret Fetzer
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April 8, 2008
#1
I had such high hopes for this version of Jane Eyre. But when Jane arose out of the mist and frightened the man’s horse, he took the name of the Lord my God in vain. I am very much saddened and disappointed that I could watch the movie no further. As a Christian I cannot support a movie that drags His name in the dirt as an expletive. I believe Charlotte Bronte would have strongly objected to her story being used to demean Christ.
April 8, 2008
#2
Instead of Jane walking to and reclining on Mr. Rochester when they begin to kiss in the next to last scene, I would have had Jane walk to Mr. R and sit down on his lap, and then begin kissing him. Reclining was a little too modern although I realize they were wearing too many clothes to be really “modern”, but sitting on his lap was straight out of the book and would have worked.
April 8, 2008
#3
If you have any respect for Bronte’s story or interest in television production values avoid spending money on this.
April 8, 2008
#4
I have to disagree with the reviewers who loved this. I found it dull and boring with almost no chemistry between the two leads. Jane Eyre is one of my favorite stories; I’ve seen all the other filmed versions and this is nowhere near the best. (My favorite is with Timothy Dalton and Zela Clark.) I actually found myself wishing this one would end quickly. The only actor who did well, in my opinion, was the one who played St. John.
April 8, 2008
#5
The leading lady in this movie makes the entire production almost unbearable to watch. Her voice is absolutely monotone and whiny. Her attempt to play a character whose superiority and self righteousness lies just under the radar is transparent and obnoxious.