Adaptation of ‘Jane Eyre’ Soars on Impressive Performances

Many seniors (mostly males) complain about reading “Jane Eyre” and how it’s long, wordy and not terribly exciting. The latest movie adaptation of the sweeping Gothic romance proves much more entertaining, even for those who don’t like films set in the Victorian Era. Lauded for staying close to the source material, this fresh translation to the big screen presents the story with an edge of suspense, magnificent visuals and dazzling performances, making this classic tale accessible and worth experiencing.

The movie opens up with Jane (Mia Wasikowska) escaping from a mansion, traveling across sprawling, breathtaking landscapes in a stunning sequence until she collapses, whereupon priest St. John Rivers (Jaime Bell) and his two sisters find and nurse her back to health. Detailed flashbacks of her troubled childhood then show Jane to have grown up as an orphan at an oppressive all-girls school, becoming independent but possessing little experience in the rest of the world until she leaves to work as a governess at the Rochester mansion.

It’s here where events really start to get interesting, as Jane befriends head housekeeper Mrs. Fairfax (a motherly and sardonic Judi Dench) and interacts with the mysterious owner of the mansion, Edward Rochester (Michael Fassbender). The sly Rochester takes a liking to Jane’s independence and quiet tenacity, eventually developing a romance with her, but he never fully reveals his motivations and hides a dark secret. This secret constantly simmers under the surface of everything he does, building tension and threatening to destroy him – his only possible source of redemption being Jane.

By telling the story non-linearly, Moira Buffini’s screenplay keeps the pace moving throughout the film and grabs viewers’ attentions right from the start. The first half of “Jane Eyre” works better than the second, which loses some steam before the ending, but the whole product is still easier to sit through and more enjoyable than the usual Victorian period piece. Greatly contributing to this is Buffini’s accomplished condensing of the plot, keeping the runtime strictly at two hours while keeping all the essential elements.

Wisely letting the actors take center stage, director Cary Fukunaga creates a naturalistic style that fits appropriately with the setting. The gorgeous cinematography, effective use of shadows and lighting as well as contrasting color tones all combine for some fantastic visuals. But he also has a strong skill for developing a sense of foreboding and creepy atmosphere, which add another layer to many of the most memorable scenes. Fukunaga plays up the Gothic aspect of the story to the perfect degree, haunting the sequences of Jane’s childhood and secrets in the Rochester mansion with a tone of cruelty and sinister behavior, yet never divulging them with out-of-place, otherworldly visualizations.

Fittingly, however, it’s the 21-year-old Wasikowska that leaves the biggest impression. Hot off her star-making turn in “Alice in Wonderland” and “The Kids Are All Right” last year, this budding actress commands the whole show in a precocious yet tough manner reminiscent of a young Meryl Streep. Truly defining the look of a “plain Jane” countless times throughout the movie, as she evolves in her quest for self-rule and love so too evolves her beauty. Behind Jane’s timid demeanor Wasikowska fuels her with a burning passion, capable of firing back at Fassbender with just as much power when he tries to intimidate her. In the same breath, she also carries the pain and aggression Jane endures with great emotional depth and sympathy.

The majority of the best scenes simply involve intimate moments and discussions between Jane and Rochester, whether they’re just talking, fighting or loving each other, and that is all a testament to the true skill and prowess of both actors. Fassbender is quickly becoming a major leading man, proving with several of his last performances that he’s an acting powerhouse. As Rochester, he brings a charismatic charm to the role, but at the same time, nearly everything he says has a certain weight to it, a disquieting potency that demands respect yet also leaves viewers wondering if he can be trusted.

“Jane Eyre” does nothing radically different from other incarnations of the Charlotte Brontë novel, or even from other films taking place in this era, but it does tell this story the way it feels like it should be told, for modern audiences. If nothing else, it’s worth seeing for the talent of two up-and-coming actors pouring their hearts into their roles and electrifying the screen.

Three out of Four Stars