FILM: JANE EYRE – SYDNEY FILM FESTIVAL SERIES
Review By Duncan McLeod
Director: Cary Fukunga
Cast: Mia Wasikowska, Michael Fassbender, Judy Dench, Sally Hawkins, Jamie Bell
Synopsis: Mia Wasikowska (“Alice in Wonderland”) and Michael Fassbender (“Inglourious Basterds”) star in the romantic drama based on Charlotte Bronte’s classic novel, from acclaimed director Cary Fukunaga (“Sin Nombre”). In the story, Jane Eyre flees Thornfield House, where she works as a governess for wealthy Edward Rochester. As she reflects upon the people and emotions that have defined her, it is clear that the isolated and imposing residence – and Mr. Rochester’s coldness – have sorely tested the young woman’s resilience, forged years earlier when she was orphaned. She must now act decisively to secure her own future and come to terms with the past that haunts her – and the terrible secret that Mr. Rochester is hiding and that she has uncovered…
Review: JANE EYRE has been filmed more than 20 times. So it begs the question why do it again? This latest incarnation is aimed at modern viewers but it doesn’t provoke much afterthought. At two hours it’s too long. There is little to no action and very heavy dialogue that sometimes gnaws at the audience. As it is derived from a literary classic, weighted speech is necessary. In saying that, in order to engage a new breed of viewer perhaps a little reinvention could have been applied. That was not the case here.
The central cast of Fassbender, Wasikowska and Dench are solid. Fassbender puts in a much better performance in this than he does in X-MEN: FIRST CLASS. His scenes with Wasikowska are well fleshed out with both humour and conviction. Wasikowska takes on a more mature guise than we have previously seen her in. The role suits her well. Her manner and appearance are well married with the role. The failing came in the form of character development between Jane and Mr. Rochester. Things were implied in the script that had occurred that weren’t illustrated on screen, so when the film reached a conclusion the audience was cheated out of seeing this relationship develop. That cheapened the narrative somewhat.
Judi Dench must be getting tired of appearing in these films. It seems like every period drama has her in it. Regardless, she is always excellent and even in this her supporting role was a large part of what made this film enjoyable. Dench must also be tired of tag teaming on these roles with Maggie Smith. Both Dench and Smith are recycled in these roles and it doesn’t seem like a true period piece if neither of them are involved. Perhaps that was what Director Cary Fukunaga was aiming for. The familiar with the new.
Credit must be paid to Amelia Clarkson who played the young Jane Eyre. Her scenes were entertaining and a little grittier than expected. They also hinted at the type of film this could have been. If Fukunaga and screenwriter Moira Buffini had followed this edgier track it may have been a more engaging film.
The look of the film was suitably chilly, and the scenery was bold and enriched. Michael O’Connor’s (LAST KING OF SCOTLAND, THE DUCHESS) costuming was authentic and very detailed. Period pieces can sink or swim depending on their costuming and set design credibility. Both were in perfect harmony here.
There were sparks of enjoyment and a lot of promise in the premise, however this re-telling of a classic, could have gone untold, as it doesn’t hold a candle to others in the genre.
