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Charlotte Brontë’s work is about intellect and reason, and, in Nietzschean terms, Jane Eyre is Apollonian while Catherine & Heathcliff are Dionysian. She appropriates all the religious conventions, restrictions, and mores of her society, and makes them truly her own whereas Catherine and Heathcliff distort and corrupt the laws of man, revealing them as base and depraved because these moral codes essentially oppress all who submit to them.
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John Rivers accuses Jane of succumbing to “lawless passion,” but Jane is no Catherine Earnshaw. This internal monologue makes the heart of the novel, and Fukunaga is undoubtedly brave to try and dramatize what is so deeply internalized and highly philosophical. It is thoughtless to condemn them, or laugh at them, if they seek to do more or learn more than custom has pronounced necessary for their sex. Women are supposed to be very calm generally: but women feel just as men feel they need exercise for their faculties, and a field for their efforts as much as their brothers do they suffer from too rigid a restraint, too absolute a stagnation, precisely as men would suffer and it is narrow-minded in their more privileged fellow-creatures to say that they ought to confine themselves to making puddings and knitting stockings, to playing on the piano and embroidering bags. Fukunaga chose to include instead what may arguably be the most important part of the book when Jane voices her existential power: They are determined to exercise their will to power, which, in a most unexpected way, gives insight into Emily Brontë’s Wuthering Heights.
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Rochester and Eyre repeatedly defend their free will. So what redeems this adaptation, you might ask? Instead of speculating on the occult, Fukunaga prefers to give several nods to Reason and Intellect.
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Fukunaga seems determined to wring out all the otherworldly spirits that haunt this story. Even the terrifying scene when Jane is visited in the dead of night by a specter and wakes in the morning to find her personal affects vandalized has been cut completely from the film.
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Along with the loss of Pilot, we also miss Grace Poole, who barely appears in the movie and is mentioned probably twice. However, Fukunaga choose to show her filled with trepidation, and, again, poor Jane is underestimated by those who should be championing her.
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In the novel, Jane’s not afraid as she walks the forest path to post Miss Fairfax’s letter, but she relishes the dark woods and the mysteries that surround her. Pilot is the linchpin, an essential link to the supernatural world that pervades this love story. While, we’re picking apart the film, let’s note what else this adaptation is missing, which includes Rochester’s faithful companion, Pilot the dog, who Jane befriends at their first meeting. Fukunaga would have us believe that Jane’s one-dimensional until she crosses paths with Rochester where she gains a second dimension. Part of the problem is that the start of the film is rushed in the beginning, and we lose some of the foundational moments that underpin both the humor and incredible intellect that make Jane so riveting since she is so keenly erudite, quick-witted, and clever even before she meets Edward. She can be both deadly serious and heartwrenchingly funny, yet Fukunaga fails to reveal this complexity, and there is no levity measured with gravitas. A universe in herself, the crux of this story is how she bends everyone she meets to answer solely to her principles and her laws. Though Wasikowska is solid in capturing Jane’s sobriety, Ms. In this film, however, Jane is simply depicted as an injured bird. Their love is slowly and painfully earned through mutual wariness and initial mistrust, until they both let their guards down to discover wonderment and genuine affection that isn’t overwrought with sentimental and over-simplified fancy. In Brontë’s greatest novel, she draws a fine balance between gravitas and levity that both characters share in their interactions. Wasikowska certainly embodies the youth and solemnity that makes Jane Eyre such a formidable force, and Fassbender broods and makes mischief just as Rochester does in the novel, although he is far too attractive for Brontë’s literary creation.įassbender and Wasikowska do the best they can to stay true to the story, but they must have been misled by the director.