For those who, like me, have managed to live under a rock long enough to avoid any knowledge of the plot of Charlotte Brontë's 1847 classic, here it is: After a childhood full of ill-treatment, and an education complete with the brutal whippings that these sorts of movies always unleash on their school children, Jane (Mia Wasikowska) finds employment at Thornfield Hall. Here she will be a Governess, placed in charge of the learning and education of a little girl named Adele (Romy Settbon Moore). Just as Jane is becoming comfortable in her new station, the master of the house, Rochester (Michael Fassbender), arrives to check in on everything, and the two strike up a strange but undeniable connection. As Jane gains more and more of Rochester's trust, she witnesses one strange occurrence after another, all while being left to guess at his true feelings for her.
My sincerest apologies to anyone who doubts the comprehensive nature of this synopsis: I'm only summarizing the movie that I saw, and am quite sure that the novel could not be deconstructed in such broad strokes. The sad truth is that any review of the movie I write won't have anything to do with the book or previous film adaptations, so if you're looking for ample comparisons, this might not be your webpage. What I do have, however, is a fresh perspective, and though I don't know how close to, "being the real Jane and Rochester," Wasikowska and Fassbender actually are, I can tell you that their chemistry is not for want. Their chess-match conversations and loaded glances make for a palpable electricity, even while being intentionally strained by age, station, formality, and Rochester's mysterious nature.
Wasikowska is an actress who I've enjoyed in spite of disliking her film choices (Alice in Wonderland, The Kids Are All Right), so it's nice to see her in something that doesn't make me want to beat my head against a wall. As always, she brings a very peculiar and singular energy to the screen, this time lending Jane all the gumption and self-respect that her character needs, keeping everyone at some distance, including the audience. Her silent strength always shines through her, the perfect challenge for Fassbender's dashing and damned Rochester. The rest of the cast is as strong as the leads, wimpy little Jamie Bell proving surprisingly effective as strong and stoic Rivers. Judi Dench even finds her way into the film (would she ever miss out on being in a corset drama? I think not!), giving a predictably effortless performance as Mrs. Fairfax. But what really needs be said about the cast, good as they are, is that they're not the true stars of the movie.
That title belongs to Director Cary Fukunaga, whose focus on the film's gothic tone sets his Jane Eyre apart from just about every other british period romance known to man. It's not without reason, I'm sure; even in my minimal experience with this type of literature, I've run across my fair share of chilly undertones, but Fukunaga's commitment to them feels unique. We're talking actual horror movie scare tactics here: The weather around Thronfield Hall is almost always mercilessly downcast, windy and rainy, extended stretches of the movie are spent in darkness without anyone making a peep, and a thing or two even manages to pop out and frighten the audience. These seemingly cheap thrills form a fascinating juxtaposition with the beauty of the story, not to mention the gorgeous score by Dario Marianelli, and stunning visuals of Cinematographer Adriano Goldman.
Unfortunately for Fukunaga, his decision to take the spot-light is not without its drawbacks. As good as Wasikowska and Fassbender are, it's simply not as easy to care deeply about their romance when you're constantly worried that he might turn out to be a vampire. Yet again, I haven't read the book, but if there's supposed to be some level of uncertainty about how exactly we're supposed to want the story to end, then this version nails it. But if the glowing smiles of almost any girl I've ever seen talk about the book are to be trusted, I can't help but think Fukunaga's emphasis on spooky atmospherics might have come at the expense of a truly satisfying romance. But love is for sissies anyways. Jane Eyre is beautiful, eerie, and surprisingly fun, loaded with strong craft, writing, performances, and direction. It's the most thoughtfully constructed movie of the first three months of the year, and best of all, you don't even have to leave you're man at home. Tell him he doesn't have to be afraid of Jane Eyre... or maybe he does.
Grade: F-
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APRIL FOOLS!!!
Grade: B+
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