Saturday, November 07, 2015

Saturday, November 07, 2015 1:53 pm by M. in , , , ,    No comments
The New York Times reviews The Hired Girl by Laura Amy Schlitz:
In many ways, “The Hired Girl” is a classic bildungsroman that dances heavily in the sunshine of Charlotte Brontë’s “Jane Eyre,” about another young girl who seeks to escape a difficult life and better herself, and unwittingly falls in love with her mentor. (Lenora Todaro)
The same newspaper makes a case for melancholy:
Though most modern characters lack such allure, melancholy has been celebrated by Tim Burton (“The Melancholy Death of Oyster Boy and Other Stories,” Johnny Depp in Burton films) Batman (“The Dark Knight”), Heathcliff in “Wuthering Heights” and Anne Rice’s wistful, brooding vampire Lestat. (Laren Stover)
A bizarre football mention in The Northern Echo:
Handsworth Parramore sounds like a particularly unscrupulous landlord in a Charlotte Brontë novel but is, in fact, a football club whose senior side plays in Worksop and the other 30-odd teams 20 miles away in Sheffield. 
The Daily Mail interviews the actor and screenwriter Colin Welland:
Welland always loved cinema — his first memory of films was seeing Merle Oberon as the ghost of Cathy at the window in Wuthering Heights. And from his primary school onwards, he realised he liked to entertain. (Ray Connolly)
The Bookseller asks previous winners of the The Sunday Times/Peters Fraser & Dunlop Young Writers of the Year award about their favourite books:
Adam Foulds - winner in 2008 for The Truth About These Strange Times (W&N)
4. Wuthering Heights
Andrew Cowan - winner in 1995 for Pig (Sceptre)
1. Wuthering Heights by Emily Bronte
This was published in 1847, when Brontë was just 29.  In its intensity, it’s a young person’s book, though technically more sophisticated than it seems to get credit for. She died the following year, so will remain forever a ‘young writer’.
Helen Simpson - winner in 1991 for Four Bare Legs in a Bed and Other Stories (Vintage)
3. Emily Brontë’s Wuthering Heights (1847) was published under a male pseudonym when she was 29 to be greeted with general incomprehension and hostility. She died a year later of tuberculosis. (Sarah Shaffi)
The Australian reviews Tom Keneally's Napoleon's Last Island:
Before his arrival, Betsy has undergone durance of her own at a British boarding school. Precocious, forthright, she is a rebel there and at large, a righteous, disruptive force in the mould of Jane Eyre, one whose mettle is admired and resented. In 1811, aged 10, she has made her escape and returned, “a desert island savage”, to St Helena. (Peter Pierce)
A reader in The Guardian complains about the passport controversy in the UK:
Choosing figures from the past who can collectively represent our country is a very difficult thing, but not so difficult as to allow for selecting only two women against seven men for the “Creative United Kingdom” passport (Report, 4 November). There is a wealth of creative women to choose from; writers alone include Jane Austen, George Eliot, Virginia Woolf, Charlotte, Emily and Anne Brontë, Elizabeth Gaskell, Mary Wollstonecraft, Mary Shelley, Daphne du Maurier, Doris Lessing, Beatrix Potter, JK Rowling, and Agatha Christie. And what about other fields such, as medicine? What about Florence Nightingale and Elizabeth Garrett Anderson? (Gabriel Osborne)
The Times Literary Supplement discovers a second hand 1889 book Literary Land of Books by Laurence Hutton:
Hutton was an American critic and collector (of death masks, among other things). Edinburgh, Florence, Jerusalem and Oxford were among the other cities covered in his "Literary Landmarks" series. Nothing if not of his age, Hutton notes that the authors of Jane Eyre and The Tenant of Wildfell Hall "came to London in 1848, without male escort", and stopped at the Chapter Coffee House, No 50 Paternoster Row.
Several websites report the Michael Fassbender appearance at The Graham Norton Show where he recalled a well known anecdote of the shooting of Jane Eyre 2011:
Things got personal for the actor back in 2011 on the set of Jane Eyre when a horse named Prince became aroused every time that Mr. Fassbender mounted his back to film a scene. (Mia Lardiere)
Lots of US/Canada news outlets  talk about the US premiere of the film Miss You Already:
But who needs the guys when women are the main attraction? Each is the friend you wish you had. Jess is there with Milly every step of the way, cracking a crude inside joke, reading “Wuthering Heights” aloud during chemo, taking an impromptu road trip to the Moors, offering a hug and a smile. (Dana Barbuto in The Daily Patriot)
Barrymore plays Jess, an American who was transplanted to England as a schoolgirl and immediately bonded with Milly (Collette). The two girls grew up together, reading Wuthering Heights and giggling about Heathcliff and his "erect (long pause) and handsome figure." (Alison Gillmor in Winnipeg Free Press)
At times, Milly and Jess joke about cancer-related issues with wigs, barf bowls and giant needles but harken back to references of “Wuthering Heights” and drawing mustaches on models in magazines. (Jeff Mitchell in Phoenix Classic Movies Examiner)
One of the movie's most special scenes is Milly and Jess going to the Yorkshire Moors because they've always wanted to see where Wuthering Heights was set. (Matthew Jacobs in The Huffington Post)
Dashing away from an unwanted surprise birthday/pity party Kit has surprised her with, Milly drags Jess on a money-is-no-object cab ride to Yorkshire to finally see the moors, immortalized by Emily Brontë’s Wuthering Heights. Once there, they dance ecstatically to R.E.M.’s Losing My Religion (all the music choices here are deliciously apt), as Elliot Davis’ ravishing cinematography (which goes a tad overboard on the handheld shakiness) scans the bleak but beautiful landscape. (David Noh in Film Journal International)
And it frequently goes overboard, with ridiculously manipulative scenes that don’t even try for a human grounding: Jess shrieking for her dying friend during childbirth; Jess and Milly confronting each other on the moors in a scene attempting to play off Wuthering Heights; Jago trying to tune into his child’s birth from the oil rig, with a group of burly drillers waving his router helpfully in the air. (Tasha Robinson in A.V. Club)
In a prologue, the film opens: Jess is alone in a hospital, about to give birth. She screams that she wants Milly. Milly (Toni Collette) and Jess (Drew Barrymore) have been best friends forever; Jess was the new American kid in London, and Milly the Brit who took pity. They shared everything, including a teenage obsession with Heathcliff, from “Wuthering Heights.” (Jana Eisenberg in The Buffalo News)
Barrymore's Jess, an American who grew up in London, and Collette's Milly have been best friends since school days, bonding over boys and music and Wuthering Heights. (Steven Rea in The Philadelphia Inquirer)
In one climatic moment, they flee an uncomfortable party in a taxi cab and head for the moors made famous by Wuthering Heights, a book they've adored since childhood. (Esther Zuckerman in Refinery29)
By the time Jess and Milly reach their moment of reckoning, on the stormy moors of "Wuthering Heights," no less, there has been minimal investment in the sort of rich characterization that buoys Emily Brontë's Gothic romance, and so the affecting final act appears to be as much result of the subject matter as of the film's limited strengths. (Matt Brennan in Thompson on Hollywood)
Hell, she barely sketches in why long-time Londoners Jess and Milly—played as adults by Drew Barrymore and Toni Collette, respectively—even like each other, apart from their shared love of Wuthering Heights. (Ken Eisner in The Georgia Straight)
Barrymore's Jess, an American who grew up in London, and Collette's Milly have been best friends since school days, bonding over boys and music and Wuthering Heights. (...)
In the aftermath of a dismal surprise birthday party, Milly persuades Jess to go with her to the Yorkshire moors - to the rocky hills where Heathcliff once trod. (Filmicafé)
Some have criticized Jess and Milly’s spontaneous late-night detour to the stormy Yorkshire moors in honor of their shared appreciation of “Wuthering Heights” as being gratuitous. But it does give the two actresses a nice chance to bond (they dance outdoors in the rain while singing R.E.M.’s “Losing My Religion”), as well loudly air their grievances with one another. Besides, the Brontë family rarely gets as much referential treatment in movies as Jane Austen does. (Susan Wloszczyna in RogerEbert)
La Repubblica (Italy) interviews the North Korean human rights activist Yeonmi Park:
E non c'è nemmeno solidarietà tra disperati? (Piero Colaprico)
"Una volta diventata libera, "inalavo" libri, al ritmo di cento all'anno, sono grata a chi nel diciottesimo secolo ha scritto "Jane Eyre" e ha trovato le parole per esprimere la libertà. (Translation)
El País interviews the writer and journalist Rodrigo Fresán:
¿Qué libro le hubiese gustado haber escrito? (Felipe Sánchez)
Tantos… Moby-Dick, El sueño de los héroes, Cumbres borrascosas, En busca del tiempo perdido, El gran Gatsby, Una casa para siempre, Falconer, Cosas transparentes, Estrella distante, Los infinitos, La vida breve, Matadero-Cinco... (Translation)
Cultora (Italy) talks about what a classic is:
Lo stesso vale per “Orgoglio pregiudizio”, “Jane Eyre”, “Cime tempestose”, sebbene sia cambiata la società con i suoi modi di fare e i suoi costumi, i lettori di oggi li trovarono ancora meravigliosamente emozionanti. (Claudia Bergamini) (Translation)
According to Graphomania (Italy) Wuthering Heights is a 'short novel':
Cime tempestose, di Emily Brönte: è una storia di amore e di vendetta, di odio e di follia, di vita e di morte. La storia di un amore tragico si sviluppa fino a raggiungere momenti di sensibilità in cui la passione, la morte, il pentimento e la vendetta acquistano una dimensione importante. (Roberto Rosso) (Translation)
A small library of a refugee camp in Calais with a Wuthering Heights copy in OneWorld (Netherlands). Entre Hojas de Papel (in Spanish) reviews the Emily Brontë's novel. Les Soeurs Brontë (in French) reviews Le Palais de la Mort.


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