Oscar nominations are announced today. But those with high hopes for Andrea Arnold's Wuthering Heights have better ditch them. From HitFix's In Contention:
If I were a member of the Academy's cinematographers' branch, for example, I wouldn't have any hesitation in jotting down Robbie Ryan's name at the top of my ballot, for his breathtaking visual sorcery on the Yorkshire moors in Andrea Arnold's imposing redesign of "Wuthering Heights." But wait a minute, I wouldn't be able to -- despite a limited but legitimate release in the autumn, the Oscilloscope property hasn't jumped through the administrative hoops required to secure a place on the longlist of hopefuls. (Guy Lodge)
“When I tackle a brilliant novel by Charlotte Brontë or Jane Austen, I try to stay as true as possible to the author’s words,” said Gordon, whose score for Broadway’s 2001 version of “Jane Eyre” received a Tony nomination. “I might cut things down or change things here and there to move the scene along, but I’m always amazed that some screen or television writers will change her dialogue totally,” he said. “I try to imagine what Jane Austen would say if she were collaborating on it, which of course she is against her will.” (Stephanie Perrault)
“The Flight of Gemma Hardy” is author Margot Livesey’s reimagining of the classic “Jane Eyre” by Charlotte Brontë. Gemma Hardy is born in Iceland, but after her father’s death leaves her an orphan at age 10, she is taken by her kindly uncle to the Orkney Islands off of Scotland in the 1950s. For those who loved the original, it is intriguing to see how Livesey interprets the major scenes from Jane’s life into Gemma’s time and situation, and for those who found “Jane Eyre” too daunting, the prose is lighter and more modern. Like Jane, Gemma becomes an au pair for the niece of a mysterious man of considerable wealth, and like Jane’s Mr. Rochester, this man has his own secrets to keep. (Laurel M. Hall)
From Jane Eyre and Oliver Twist to Harry Potter, fictional orphans are lonely, misunderstood, often small and markedly different from the people who raise them, and all haunted by the question: Why? Why am I alone in a world where everyone else seems to belong to someone? (Suzanne Berne)
On 22 November a memorable event took place. For the first time a ‘Brontë’ delegation paid homage to Martha Taylor and Julia Wheelwright, the two Yorkshire friends of Charlotte and Emily who died in Brussels in 1842.
Martha’s death especially was a big loss for Charlotte. She quite often visited her grave in her second year in Brussels. That cemetery has long gone, and it was only recently that the reburial place was located. (Eric Ruijssenaars) (Read more)