Fortitudinous naïf

Slant reviews the blu-ray release of Crimson Peak:

If Wasikowska’s surprisingly fortitudinous naïf is meant to recall Jane Eyre, Hiddleston’s version of Rochester comes not from Charlotte Brontë’s classic tome, but the revisionist version found in Wide Sargasso Sea, a feckless brute who maintains a veneer of respectability just long enough to nab a wife he can exploit to boost his own faded status. (Jake Cole)

Writing argues that,

It’s not the first time fiction has had to straddle a time of intense transition. The Victorian Era, the 1940s, the 1990s and more recent times have all managed to harness the zeitgeist.
Domestic noir subverted the marriage myth, thriving in the stifled, straitlaced age when women could not vote, and the institution of marriage, the family itself, and the traditional roles of wives, mothers and daughters were put on trial.
In isolated Thornfield Hall, an educated governess fell in love with Edward Rochester, but he had a sinister secret—a mad wife he’d locked away in the attic.
Jane Eyre challenged the concept of love at first sight, suggesting that hastily made marriages are fraught with danger, that intimacy and trust takes negotiation and renegotiation as a blueprint for marital accord.
The home, a place of tedium, became a place of nervous anxieties. Domestic serenity was subverted, but the investigative gaze was ultimately punished because the curse of living happily ever after was that there were no more mysteries to solve… Jane wound up at Mr Rochester’s side. (Niamh O’Connor)

The Brontës in Halifax has a post on the Southowram area, where Emily taught at Law Hill School. AnneBrontë.org discusses the film Devotion. Brontë Babe Blog reviews Aunt Branwell and the Brontë Legacy by Nick Holland.