Condé Nast Traveller lists some films and TV series filmed in the UK.
The Railway Children (1970)
This timeless slice of Victoriana is deeply rooted in its location in picturesque West Yorkshire, where the Waterbury family are forced to move from smoggy London. The railway in question is the Keighley and Worth Valley, a 19th-century line that had closed in 1962 but had just begun running as a heritage affair. We see Oakworth Station, near Keighley, with the house of stationmaster Perks (Bernard Cribbins) just next door at 61 Station Road, while the tunnel where a fateful accident takes place is Mytholmes, off Mytholmes Lane. The children’s ramshackle home is played by Bents Farm, in the nearby village of Oxenhope, though the rest of the village is Haworth, already famous as the home of the Brontë sisters. (James Medd)
A contributor to
The Independent tells about how lockdown has helped her with her New Year Resolution of reading one book a week.
I’ve come to think of reading as a muscle that needs flexing regularly, just as I would with exercise, maths of any other kind of skill. As a teenager I used to whizz through anything by Jane Austen or the Brontës without a second thought, now I need to force myself to do it. (Rachael Revesz)
Beware of HUGE spoilers in this review of the new adaptation on
The Secret Garden in
Los Angeles Times.
To film the ending sequence, production designer Grant Montgomery built a massive entry hall and staircase in a soundstage at Pinewood, outside London. The curving staircase evokes the Gothic settings of “Jane Eyre” and “Rebecca,” two other stories about mysterious manor houses with tortured men that end in fire. (Emily Zemler)
El País (Spain) has a very silly article by Carlos Sala on Branwell disregarding the whole Victorian context and ending up by claiming that the deaths of the Brontë siblings were punishment for Patrick for not having valued his daughters enough.
Branwell morirá el 24 de septiembre de 1848, sin ser consciente que sus hermanas van a convertirse en lo que su padre quería para él. Emily morirá tres meses después, el 19 de diciembre. Anne cerrará la infame cadena y morirá el 28 de mayo de 1949 [sic], después de que su hermana Charlotte la acompañe una última vez a ver el mar. Charlotte, la mayor, morirá en 1855 como albacea y protectora del legado de la familia, también de tuberculosis [SIC]. Les sobrevivirá Patrick Brönte [sic], el padre, como si fuera un castigo por no haber apreciado en su justa medida a sus hijas. La historia le acabará de dar la estocada. Ahora solo se hablará de “las Brontë”. (Translation)
Still in Spain,
Heraldo also shares untrue information about the Brontës in an article on women writers using pseudonyms.
"La literatura no puede ser asunto de la vida de una mujer". El poeta Robert Southey respondió así en 1836 a la joven profesora que le envió sus poemas tratando de publicarlos. Lejos de desanimarse, los editó bajo el seudónimo de Currer Bell. Fue la máscara masculina de Charlotte Brontë (1816-1855), futura autora de 'Jane Eyre', y que como tantas coetáneas ocultó su nombre y su sexo. [...]
Las tres hermanas Brönte [sic] se masculinizaron. Charlotte se convirtió en Currer Bell, Anne en Acton Bell y Emily en Ellis Bell. "Emily y Anne nunca usaron sus nombres reales en la portada mientras vivieron", recuerda Emily Auerbach, profesora y autora de 'Conociendo a Jean Austin [sic]', quien usó el femenino seudónimo de 'A Lady' (Una dama).
(Miguel Lorenci) (Translation)
Emily and Anne never published under their real names in their lifetime. But neither did Charlotte. Perhaps Spanish media should leave the Brontës alone for a while until they have gone and read up on them? It's pretty embarrassing.
0 comments:
Post a Comment