Jane, however, receives nothing but neglect and abuse at her hands. At the age of ten, Jane is sent away to a charity school. Years later, Jane attempts to reconcile with her aunt, but Mrs. Reed spurns her, still resenting that her husband loved Jane more than his own children and that Jane had stood up to her and called her heartless shortly before being sent away to school.
Shortly afterward, Mrs. Reed dies of a stroke. Reed's son, and Jane's cousin.
He is Mrs. Reed's "own darling," though he bullies Jane constantly, sometimes in his mother's presence.
His mother dotes on him, but he treats her condescendingly. He goes to college, ruining himself and Gateshead through gambling. Word comes of his death by suicide. Reed's elder daughter, and Jane's cousin. Bitter because she is not as attractive as her sister, Georgiana Reed, she devotes herself self-righteously to Catholicism.
After her mother's death, she enters a French convent, where she eventually becomes the Mother Superior. Reed's younger daughter, and Jane's cousin. Though spiteful and insolent, she is indulged by everyone at Gateshead because of her beauty. In London, Lord Edwin Vere falls in love with her, but his relations are against their marriage.
Lord Vere and Georgiana decide to elope, but Eliza finds them out. Georgiana returns to Gateshead, where she grows plump and vapid, spending most of her time talking of her love affair. After Mrs. Reed's death, she marries a wealthy but worn-out society man. She sometimes treats Jane kindly, telling her stories and singing her songs. Later she marries Robert Leaven. Months after she goes to Thornfield Hall, he brings her the news of John Reed's death, which had brought on Mrs.
Reed's stroke. Lloyd: A compassionate apothecary who recommends that Jane be sent to school. Later, he writes a letter to Miss Temple confirming Jane's account of her childhood and thereby clearing Jane of Mrs. Reed's charge of lying. Brocklehurst: The arrogant, hypocritical clergyman who serves as headmaster and treasurer of Lowood School.
His family leads an opulent lifestyle. At the same time, he preaches a doctrine of Christian austerity and self-sacrifice to everyone in hearing.
When his dishonesty is brought to light, he is made to share his office of inspector and treasurer with more kindly people, who greatly improve the school. She recognizes Mr. Brocklehurst for the cruel hypocrite he is, and treats Jane and Helen with respect and compassion. She helps clear Jane of Mrs. Reed's false accusation of deceit. She behaves with particular cruelty toward Helen, using her as a scapegoat for anything and everything.
Several years older than the ten-year-old Jane, she stoically accepts all the cruelties of the teachers and the deficiencies of the school's room and board. She refuses to hate the tyrannical Mr. Brocklehurst or the vicious Miss Scatcherd, or to complain, believing in the New Testament teaching that one should love one's enemies and turn the other cheek.
Jane reveres her for her profound Christianity, even though she herself believes that returning hate for hate is necessary to prevent evil from taking over. Helen, uncomplaining as ever, dies of consumption in Jane's arms.
In the book it is noted that she was buried in an unmarked grave until some years later, when a marble gravestone with her name and the word 'Resurgam' inscribed on it appears. The possible inference is that this was provided by Jane. He possesses a strong physique and great wealth, but his face is very plain and his moods prone to frequent change. Impetuous and sensual, he falls madly in love with Jane because her simplicity, bluntness, intellectual capacity and plainness contrast so much with those of the shallow society women to whom he is accustomed.
But his unfortunate marriage to the maniacal Bertha Mason postpones his union with Jane, and he loses a hand and his eyesight while trying to rescue his mad wife after she sets a fire that burns down Thornfield. He is a Byronic hero.
From the West Indies and of Creole extraction, her family possesses a strong strain of madness, of which Rochester did not know until, lured by her wealth and beauty, he had married her. Gypsy Disguise: No scene, of course, but a sly nod to it when a gypsy approaches the newly engaged couple and Welles says they are going to make their fortunes themselves. Of course I saw this in the theater and have watched it at least once since. But I'm willing to make the sacrifice and watch Michael Fassbender for another two hours.
Child star rating: Is it just my imagination or do child Jane and Adele look like they could be sisters? Child Jane is too big, as usual. Craziness level of the attic wife: Low, very low; she looks like she should be taking a selfie at Coachella with her artfully disheveled hair and flowy gown.
Cinematography: Also The Best. It feels like it plays a leading role and elevates other elements that are lacking. Adherence to the book: Middling. A lot of stuff gets cut, as usual looking at you Gypsy Rochester! Gothic level: For all its natural lighting, it seems very atmospheric to me. Interior shots lit only by candles, a muted color palette, and lots of storms.
Second only to the Orson Welles version to me. Gypsy Disguise Watch: No. Obviously not. But I would have like to have seen a cross-dressing Michael Fassbender, wouldn't you? Although she looks great in a corset. It was a bold move starting the way they do instead of with the typical Jane vs John Reid grudge match. I have watched this one several times previously, but I will watch it again.
For science. However, she is balanced out by one of the worst Adeles. Too big, not cute, and just annoying. Laughability of scenes in which the lead actors refer to themselves as unattractive: How do I put this nicely?
Book Category. I don't want to be caught in the middle of rush hour. Wendy really cared about all of us, and would always listen, provided she wasn't working on a paper. No one ever knew what he died of because my aunt would not allow an autopsy. Rochester into offensive language, thus making him a rude man. She told me the whole thing, word for word, but each word made her cry harder.
Finally leads that are not Hollywood pretty! And Samantha Morton does, too. But where did she get that red lipstick. So major points get deducted for that. The chemistry between Morton and Hinds works, and they keep some of the dialogue. Special shout out to Gemma Jones for being a great Mrs Fairfax. Gothic level: Low. Worst kiss EVAR.
Samantha Morton does this thing wherein her way of conveying sexual excitement is to roll her eyes back in her head and gape her mouth. However, in many ways I find this to be an excellent adaptation and a generally good film. Even with the time provided by the format, they completely miss the change from docile Jane to her moment of revolt against John Reid. But to be fair, Adele might be my favorite of the Adeles. Laughability of scenes in which the lead actors refer to themselves as unattractive: I feel like this is somewhat up for debate, especially as regards Timothy Dalton.
Craziness level of the attic wife: I would not want to run into her on a flaming rooftop. Cinematography: Possibly the worst. Also, Thornfield, which is surrounded by a thoroughly un-Gothic green lawn. Gypsy Disguise Watch: Guys, it happened!! And it was just as amazing as I hoped it would be. No one else in the history of Jane Eyre films pulled it off, but I think it worked.
Summary: Despite my grousing about the lack of Gothic splendor, the low production values, and the terrible young Jane, this is actually my favorite adaptation! I feel like the lead actors really capture various facets of their roles and that we see more moods from them than we do in most productions. Wow, if you've made it this far, you are either a huge Jane Eyre fan or really bored.
Maybe both? Tell me your favorite version and what criteria do you use!
And if your preferred version was lower on the list than you thought it should be, keep in mind that other than maintaining the version as my favorite and disliking the and versions , I found it really challenging to rank everything else. I'm prepared to be swayed. After all, any excuse to watch Jane Eyre Important elements that were taken into consideration include, but are not limited to: Child Star Rating Laughability of scenes in which the lead actors refer to themselves as unattractive Craziness level of the attic wife Production values Cinematography Adherence to the book Gothic level Bonus points were given if the film included the fortune teller scene.
Because it is the best. Production values: Seventies era. What can I say. Cinematography: See also - production values. Gothic Level: Low. Gypsy Disguise Watch: Nope. Save yourself. Production values: Very good Cinematography: As with the version, the scenes at Thornfield are quite dark.
Gothic level: Nothing to write home about. Craziness level of the attic wife: So crazy we are not even allowed to see her. Production values: Decent. Production values: The Best. Production values: Fair to middling.