There's still some confusion as the the opening dates and locations of the movie. The
Jane Eyre movie Facebook page pointed to
Moviefone listing the film in its Movie Lover's Guide to March:
• March 11 -- 'Jane Eyre' has been adapted countless times since the invention of cinema, but the latest version of Charlotte Brontë's classic has a couple things going for it that previous editions lacked -- namely a cast that includes 'Alice in Wonderland's' Mia Wasikowska and 'Inglourious Basterds' star Michael Fassbender. Should be a good one. (Scott Harris)
But the site doesn't seem to have updated its '
showtimes & tickets' section, so there's still no way of finding out.
In the meantime,
Buzzbo (Washington, DC and Baltimore area) offers the chance of winning advanced screening passes and a Jane Eyre novel.
How well do you know Charlotte Brontë’s famous novel, Jane Eyre? Be one of the first five to email in the correct answers to the following questions and you could win advanced screening passes to 3 different screenings over the next 2 weeks, the Jane Eyre novel as well as some other goodies!
How to enter:
Email buzzboDC@gmail.com, with JANE EYRE in the subject and the answers to the following 3 questions in the body of the email. The first 5 to do so correctly will win the Jane Eyre prize pack!!
1) How did Jane find Thornfield Hall as a place of employment?
2) Who in Gateshead Hall was the nicest to Jane?
3) What job did St. John find for Jane after she was taken in?
And according to them,
JANE EYRE opens in DC theatres Friday, March 18th!
However, something that is already available for everyone is the soundtrack sample list
on Amazon. They are short snippets, of course, but well worth listening once or twice (or more!).
Elle reviews the film. The review is entitled 'Fresh Eyre' - we are afraid that this is only the beginning of the plays on the word.
Instead, [Cary Fukunaga] took a meeting with the BBC and chose to make a new, improved screen version of Jane Eyre. Charlotte Brontë’s 1847 novel inspired a genre of bodice rippers that shows no signs of letting up; with the eventful romance between a quiet young governess and her stormy upper-class employer, who keeps a madwoman locked in the attic of his stately home, at the core of the story, the 21 previous film and TV versions have mostly been bodice-ripping too. How could they not? Better than anyone who came before, Fukunaga shows us how—by making a movie as fresh and almost as smart as Brontë’s enduringly brilliant novel. He gets help from an A-list Brit supporting cast that includes Judi Dench, Jamie Bell, Sally Hawkins, Simon McBurney, and Imogen Poots. But it’s his leads—Mia Wasikowska as Jane and Michael Fassbender as Edward Rochester—whose presence instantly signals that this is not your grandma’s cozy gothic.[...]
The movie opens at a provocative moment deep into the story, when she’s literally running away from Rochester, his little ward, Adele, and his grand, gloomy Thornfield Hall, eventually finding refuge with a young missionary, St. John Rivers (Bell), and his sisters (St. John will prove to be Rochester’s rival for Jane’s affections). Fukunaga is a cinematographer turned director, and the thoughtful way he cuts back and forth in time keeps the story moving even while augmenting it and further piquing our curiosity. But what emerges most vividly is Jane herself. It’s her story, after all, but on-screen she has seldom been allowed to fully claim it—her sympathetic goody-two-shoes character overshadowed by that dubious object of desire, the far more vivid Rochester, smoldering away on the battlements.
That template was set by one of Fukunaga’s favorite versions, Hollywood’s 1943 Jane Eyre, with Orson Welles and an unsuitably beautiful Joan Fontaine in handsome if melodramatic black-and-white. “You wouldn’t make a film like that anymore,” Fukunaga told an interviewer. Actually, there’s still a lucrative female TV audience for just that sort of thing, but Fukunaga has broken the mold of the towering, glowering all-powerful male and the meek but lovable little woman sitting wistfully in the corner while he dances with someone richer and better-looking.
[Michael Fassbender]’s also of medium size, nicely made but unlikely to tower over anyone. So instead of a satanically tormented hero, we see a flawed, unhappy man trapped by a life-blighting circumstance.
That’s what Brontë saw too. [...] But this is a breakthrough. [Mia Wasikowska] owns this part—it’s her Jane, and Brontë’s as well. For starters, she’s reserved rather than meek, and she speaks her mind as needed. She also solves the problem of the heroine’s famous lack of beauty, which defies Victorian and movie conventions alike. With Wasikowska seemingly devoid of makeup, cinematographer Adriano Goldman’s camera finds the plain yet luminous features that make her the beacon of light and moral courage that Rochester craves. Better yet, she perfectly dispenses the soft-spoken but mischievous wit that makes Jane someone we want to know as much as he does. Calling himself “a stickler for raw authenticity,” Fukunaga has said he spent a lot of time rereading the book, trying to feel what Brontë felt as she wrote it. Like the original, his Jane Eyre is a love story, as fiercely intelligent as it is passionate. He uncovers what the bodice rippers miss: that these lovers are equals and, as such, equally deeply felt aspects of their creator. (Karen Durbin)
Categories: Jane Eyre, Movies-DVD-TV, Music
I wonder how that strange chronology will work out. Just another SIX MONTHS to go before we can find out for ourselves here in the UK. *mutters*
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