Does he like her? Dislike her? Notice her? Rochester, so often away, does not explain himself. The key to the story is Jane's romantic attraction to Rochester - whom she fears to approach. There is another employee at the hall, Grace Poole ( Billie Whitelaw), whose duties are mysterious but are perhaps connected to the disturbing screams that are sometimes heard in the middle of the night, from a locked room in a far wing. Fairfax ( Joan Plowright), and Jane's duty is to be governess for Adele Varens(Josephine Serre), whose relationship to Rochester is unexplained.
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When the headmaster labels her a liar and asks if she knows how to avoid going to hell, she replies:"Keep well and not die, sir."Īt Thornfield Hall, the household is ruled by the kindly Mrs. As a young orphan (played by Anna Paquin, the Oscar winner from " The Piano"), Jane was hated by her aunt ("I have done what I could for the girl, but she has a willful, obstinate nature") and sent to a strict, cruel school. They're plain - in a very special way."įor Jane Eyre, Thornfield is a happy place, despite Rochester’s enigmatic comings and goings. After her unhappy childhood and adolescence, she has come to Thornfield to teach a young girl who is Rochester’s ward, and she is a prim, dark figure in the background at his fancy-dress balls.Īs Blanche (Elle Macpherson), Rochester's snobby blond fiancee, observes, "You can always tell a governess at first glance.
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The movie creates the right visual atmosphere, of deep shadows and gloomy interiors the cinematographer, David Watkin, who also shot Zeffirelli's "Hamlet," makes Thornfield Hall into a place where Jane's bedchamber is sunny and bright, but the spaces controlled by Rochester are ominous.Īs played by Charlotte Gainsbourg, Jane's wide mouth and deep-set eyes make her look in the mirror with despair. In a sense, Jane’s environment is sexuality - which surrounds her, misunderstood and unacknowledged.
Jane Eyre's world must seem an ominous and forbidding place, charged with implied sexuality. The new "Jane Eyre" has been directed and co-written by Franco Zeffirelli, the Italian director of films and opera who is drawn to English literature he made the Taylor-Burton "Taming of the Shrew" in 1967, a classic” Romeo and Juliet" in 1968, and Mel Gibson's 1990 "Hamlet." The first two of those films were bursting with life and color, but "Hamlet" had a gloomier, damper texture, and with "Jane Eyre," Zeffirelli has banished brightness and created a cold, gray world where, as the dialogue has it, "The shadows are as important as the light." These two anchors - the uncertain young girl and the distant, potentially threatening older man - can be found in almost every Gothic story, and it doesn't take a Freud to plunder the subtext. Rochester ( William Hurt), the master of the hall, is tall, dark, handsome, glowering, deep-voiced and enigmatic. Jane (played here by Charlotte Gainsbourg) is plain, severe addressed in somber clothes, an unwanted orphan whose unhappy days at boarding school have been followed by employment at the forbidding Thornfield Hall. What made "Jane Eyre" work so well as a novel by Charlotte Bronte, and in three previous film versions, is the classic purity of the two central characters.
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