Jane Eyre Review

Cary Fukunaga follows up his marvelous immigration tale Sin Nombre with a new retelling of a literary classic, Charlotte Bronte's eerie and strangely romantic Jane Eyre.  The trailers promised a faithful adaptation, spurring many unfamiliar with the book to ask me, "Is it really like that?"  Indeed, Bronte's masterpiece is laced with subtly supernatural stirrings, creating a mystery around the central characters and complicating Jane's seemingly impossible romance with Rochester.  Fukunaga has brought the tale to the screen with the most crucial elements intact, not limited to such concrete elements as characters and settings.  This Jane Eyre perfectly channels the tone of its source material, at once providing the viewer with a careful Victorian romance not unlike Jane Austen and the sort of otherworldly mystery that could suck shallow Twihards into something much more worth their while.

The film restructures the novel into a frame narrative, with much of Jane's life told as a flashback to St. John Rivers (Jamie Bell) and his sisters.  The structure serves the narrative well, providing a sense of dread to Jane's (Mia Wasikowska) initial relationship with Rochester (Michael Fassbender), as the audience is keenly aware that, at some point, Jane flees.  The result is a narrative glossed both by the audience's inevitable desire to see Jane and Rochester paired and the knowledge that such a pairing may not happen (at least initially).  Thus, more than 500 pages of novel gain a sense of momentum and destination that prevents viewers from getting antsy as they wait for plot development.  It's a brilliant move.

The restructuring also allows Wasikowska to dominate the film from the first, as her childhood is presented through her eyes.  Wasikowska plays the part brilliantly, imbuing Jane with the propriety and quiet strength that make her such a fascinating heroine.  In fact, it seems odd to say Wasikowska dominates, as she shows such restraint and subtlety that her power never reveals itself all at once.  While her Jane seems (to me at least) a perfect translation of Bronte's character, Wasikowska also adds her unique touch to the character, lending her the occasional softness and romanticism that complement the sometimes impenetrable exterior and create a more fully rounded protagonist.

Fassbender makes a stunning Rochester, intimidating, dark, and magnetic despite his moodiness.  Fassbender makes the enigmatic master something like the Beast - even when he's not onscreen, his presence is felt, especially in the scenes at Thornfield.  He looms over the film like a shadow, and the relentless darkness of his character complicates the romance viewers are programmed to desire, perhaps even more so than Rochester's shady past itself.

Fassbender and Wasikowska have indelible chemistry, whether matching wits in the sort of intellectual contests Rochester so revels in or finally succumbing to their shared desire.  Rochester and Jane are characters who, by many rights, should not be together, but thankfully, Fukunaga presents the relationship with much the same delicacy and complexity Bronte does, creating a couple that is appealing despite its seeming inadequacies.

In addition to the strength of the central romance, the film is simply gorgeous to behold.  The set decoration and costumes are beautiful and immerse the viewer in the world while also underlining the characters' statuses.  Jane's plain garb marks her as socially unworthy of Rochester in his fine suits and surrounded by ladies in much fancier dress.  It's all wonderfully captured and musically accompanied, as well, with yearning strings dominating Dario Marianelli's stirring score.

While many decry the lack of originality in Hollywood today, Fukunaga has proven that what ultimately matters is the strength of the film itself.  Even a story as well-known and often-told as Jane Eyre can feel new and exciting again in such talented hands.