Greenwich Patch has some more information about the Cary Fukunaga's Q&A after the screening of the film at the Westport Youth Film Festival:
Actress Mia Wasikowska, portraying Jane Eyre in the latest adaption of the novel, stumbled through the frigid moors in northern England in the film's opening scenes. Wasikowska is soaking wet and her character is on the verge of death. There’s little cinematic trickery in this scene.
“They told us they were going to give her a wet suit to wear underneath the costume because it’d be so cold, but as you can tell, her…corset is very tight…so there’s not a lot of space for wet suit,” said director Cary Fukunaga. “They basically gave her what I thought looked like a body condom.”
The teenaged actress nearly suffered hypothermia, but she eagerly kept working on the scene. (...)
Michael O’Conner (sic), who won an Oscar for his work on The Duchess, handled the costumes in the film. The novel is set in the 1830s, but Fukunaga said his adaptation diverges from that time period by moving ahead ten years.
“Neither one of us liked the wardrobe from that era,” he said. “It’s a time of fashion that should have been forgotten; big, poofy sleeves with triangular Valentine card-looking tops and horrendous hairdos.”
Fashion improved greatly in the following decade, he said. (Anthony Karge)
On
WBUR (On Point) we can also
listen to another Cary Fukunaga interview:
Hollywood loves this story, and its setting on the windswept moors. It’s been put on film 18 times in a hundred years.
Now, the hot young indie director Cary Fukunaga takes his turn. And it’s terrific.
This hour, On Point: we talk with director Cary Fukunaga about his compelling new “Jane Eyre.” (Tom Ashbrook)
The conversation contains some blunders though. The worst one is changing the sex of Jean Rhys or saying that Charlotte Brontë never married...
Another audio interview with the director is available on
Hollywood Outbreak.
Latino Review has video interviews with Michael Fassbender, Mia Wasikowska and Cary Fukunaga:
I had the pleasure of chatting with the young, gifted and visionary director as well the super talented Wasikowska and Fassbender about their outstanding performances in the best rendition of Jane Eyre yet.
Check out what they had to say about working together on the classic story, challenges onset and other exciting projects in the works. (Jenny Karakaya)
Minnesota Public Radio also has an audio interview with the director.
Screencave publishes an interview:
Have you heard peoples reactions to it yet?
CF: The reviews are just starting to come in. I haven’t even watched it with an audience yet. It was sort of found in the writing, found in the shooting, it was also found and finally defined in post. We kind of went back and forth from different versions of horror or not, and I was kind of fighting to keep more horror in, but I do agree that it was taking away from the relationship. So it was a balance, a balance that was sort of not the lowest common denominator but something where you wanna make sure Jane wasn’t lost and the love wasn’t lost. In the end that was the most important.
Jessica Winter in
Slate asks herself why there are so many movie adaptations of
Jane Eyre, and which one is best? She classifies the adaptations according to the degree of Rochester creepiness (!):
The most famous line in Charlotte Brontë's Jane Eyre is "Reader, I married him." Depending on the reader, it may also be the most puzzling, given that I is a wealthy young woman and him is a one-eyed, one-handed, pushing-40 grump who proposes to a nanny half his age only to admit at the altar that he's already got a wife and she's locked in his attic. Dreamy! Yet in a 2009 poll by British romance publisher Mills and Boon, readers voted Edward Rochester the "most popular hero in literature," ahead of the likes of Heathcliff, Rhett Butler, and Colin Firth. (...)
However much we might adore him—and in the end, don't we love Rochester because we love Jane?—our hero is, objectively speaking, a bit of a creep. Thus the success or failure of any Jane Eyre (the below list is a mere sampling) hinges on how well the film minimizes its inevitable Creep Factor. (Read more)
The Sisterhood comes in defence of Rochester (creepy or not):
He’s hardly a conventional hero and his flaws are deep. But since I’m one of those die-hard feminists who is extremely fond of Rochester and finds his dynamic with Jane compelling, I felt I had to make the case for their love.(...)
The source of that connection, of the string that ties them together, is their shared position as outcasts. They both hate convention, and they seek refuge from a merciless world in each other. Rochester’s trouble arises from being a second son who was tricked into marrying a woman with a history of insanity in her family. His hand was forced by his family’s relentless need for money. Older and wiser, he now sees right through the hypocrisy of the genteel people who want to associate with him only because of that money. Like the orphaned and abused Jane, he has been beaten down by social rules and exactly like Jane, he has reacted by being caustic and rebellious rather than submissive. They are natural allies. The problem Brontë pinponts, though, is that even with their intense connection Rochester still has power over her due to his gender and social status. Although he loves Jane because she is his equal, he doesn’t know how to not flex his power. (Sarah Seltzer)
The Globe and Mail announces the film and the journalist discusses the current value of the novel:
In the preface to the second edition of Jane Eyre, Charlotte Brontë took it upon herself to rebuke the “timorous or carping few” who dared to criticize her art.
“Conventionality is not morality,” she wrote. “Self-righteousness is not religion. To attack the first is not to assail the last.”
In essence she was saying: If you think my book is offensive, you can stick it up your bloomers.
As it turns out, in the long run, she needn’t have been so defensive. For school children and adult readers the world over, Jane Eyre remains a classic that can be found on class syllabuses, nightstands and well-stocked e-readers to this day. (Leah McLaren)
Zap2It compares Joan Fontaine to Mia Wasikowska:
he women who've played Eyre are as familiar as they are numbered -- both Charlotte Gainsbourg and Samantha Morton have tackled the part -- but none were as iconic as Joan Fontaine in the 1944 version alongside Orson Welles.
How will young Mia stack up against Fontaine? We've broken down their vital stats, including headgear, in attempt to see who has the edge[.] (Mikey O'Connell)
The
San Francisco Gate talks about Cary Fukunaga directing
Jane Eyre:
For his latest project, in lieu of immersive time-travel, presumably the hands-on director's preferred mode of research, Fukunaga lived with "Jane Eyre" - which he hadn't read before he got the job - marking it up with highlighters, pens and Post-its and working with screenwriter Moira Buffini to strike the right balance between the novel's gothic and romantic strains. In an innovative twist, this version begins Jane's story at the end of the book, with Jane looking back on her life, and lacks the often overblown elements of other adaptations, like a puffed-up Orson Welles bellowing "Jane!" over the moors. (Sophie Brickman)
Vulture has prepared a montage with other 'already married' scenarios:
Though its latest movie adaptation, starring Mia Wasikowska and Michael Fassbender, only hits theaters today, Jane Eyre is such a staple of high-school classrooms (and Masterpiece Theater) that most everyone will know what's coming: a crazy wife, locked in the attic, who shows up just in time to stymie the wedding of Jane to Mr. Rochester. He's already married? Harsh! ... but not uncommon. (Amanda Dobbins and Sarah Frank)
Victoriana Magazine discusses the Brontë country tour package contest organised by Focus Features and VisitBritain.
On the Wilder Side publishes some pictures of her own of the New York screening of the film. The April issue of
W Magazine features Mia and Michael on the cover. Check out the pictures and the article
here.
And also mentions in the
North Branford Patch,
California Literary Review,
Digital Spy,
So Hood Magazine,
The Week,
NBC's Popcornbiz,
Sunday Mail (Austalia),
Irish Central,
The Mustang,
Categories: Jane Eyre, Movies-DVD-TV
0 comments:
Post a Comment