Review of Jane Eyre (2011) by Issac L — 21 Sep 2011

I always hold a favorable perspective towards remakes in view of that top-notch scripts are invaluable in Hollywood at this moment in time, especially from classic literature canons. My personal background is that I have neither read Charlotte Brontë's book nor watched any previous film/TV adaptions, so for me it is a sheer new film to adventure into.

This version of JANE EYRE has a gallant ambition with its gothic palette and a refreshing cast, from American director Cary Fukunaga, whose 2009 debut SIN NOMBRE is his career's speed-up propeller. It all starts with the gloomy flashbacks which prefigures a troubled and hear-rending journey ahead (for viewers of course), which constantly reminds me of UK female auteur Andrea Arnold's FISH FANK (Mr. Fassbender also stars), coincidently Andrea's latest film is a new version of WUTHERING HEIGHTS (from Emily Brontë, Charlotte's younger sister), which overtly is a more controversial task. The haunting cinematography and the shoulder-held camera relentlessly fabricate a brittle and bleak milieu and I am fascinated by the thrilling surroundings and tenderness excavated in-between the melodramatic sincerity and gut-wrenching mental sojourn staying within the film's main characters.

The cast is immaculate, a young Gwyneth Paltrow-look Mia Wasikowska undertakes the overloading leading Jane with sympathetic nuances, and the awareness of female independency has been instigated with credibility which is always a triumph to witness on screen. Fassbender, who may be too flawless to act as a dishonest Rochester, is fierce and sultry at the same moment using his unique charisma. Judi Dench, Sally Hawkins and even Jamie Bell's supporting roles are bitty but unflinchingly solid.

The latter part is quite hasty in my opinion, perhaps on account of the running time (I suggest a 150-minutes length could be appropriate because it's better to give some room for the downplayed Mason family). Overall the film is not plucky enough though the material is affluent, a woeful top-heavy ending foils itself becoming a perfectly justifiable masterpiece.