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Cary Fukunaga’s Jane Eyre (2011): An Aesthetic Interpretation

When the film Jane Eyre, directed by the American filmmaker Cary Fukunaga, came out in 2011, it instantly drew my attention not only because it was another adaptation of Charlotte Bronte’s timeless classic, but also because the film looked simply beautiful. But as I was preoccupied with other things, I could not watch it that year. It was only today (10 years later!) when I finally took the time to watch the DVD I had purchased from Amazon that I watched the 2011 Jane Eyre. And here are my honest thoughts on the film.

Official poster for Jane Eyre (2011). Image from https://www.imdb.com/title/tt1229822/mediaviewer/rm4096362240/?ref_=tt_ov_i

First and foremost, the film is simply beautiful.

If anyone were to ask me what the best thing about this adaptation was, I would tell them that the cinematic atmosphere and the aesthetics surpass any other version. It is, I think, very similar to the 2005 Pride and Prejudice (directed by Joe Wright) in that both films aren’t very accurate as they stray away from the details of the text but are astoundingly aesthetic, if not the most aesthetic versions of the classics.

Jane Eyre (2011) and Pride and Prejudice (2005) are both masterpieces in terms of aesthetics.

It was also interesting to see the film start with Jane running away from Thornfield and going back in time to show her as a little child at Gateshead Hall, her time at Lowood with Helen Burns, and her stay at Thornfield, including the fateful wedding day. Even though the film approaches the plot in such a fresh way, I personally disliked how many details in the movie were altered from their actual source: Miss Temple was erased from the story, I believe, along with Miss Oliver (one could say she was mentioned in an obscure sort of way), and other characters I could not recognize, such as Mary Rivers.

Other details were changed as well, such as how Jane tells Mr. Rochester about her relatives in the beginning while in the novel she doesn’t initially. And in the film, Jane doesn’t suspect Grace Poole for the creepy laughing or for the subsequent incidents that occur since Grace Poole doesn’t really come out until the day the secret is revealed on the wedding day. These details might appear trivial. But combined altogether, they drastically alter the story from its original.

Despite the fact that the cast is an ensemble of extremely talented, renowned actors, including Mia Wasikowska, Michael Fassbender, Jamie Bell, Judi Dench, and Sally Hawkins, it didn’t feel like that of Jane Eyre.

I thought Mia Wasikowska was great as the titular protagonist – her performance was moving and I could see her as Jane. And Jamie Bell was an okay St. John Rivers. But as for the rest, they didn’t really seem to belong in the classic. Michael Fassbender’s monotonous way of speaking sometimes made me question whether Mr. Rochester really was interested in attaining Jane’s love. Perhaps to other viewers he did, but as I have watched the 1983 version first, his Mr. Rochester appeared less passionate, less desperate for Jane’s attention and love than that of Timothy Dalton. Timothy Dalton’s portrayal convinced me that Mr. Rochester was desperate to gain Jane’s attention from the very beginning. The way he fidgets, the way he looks at Jane, and the way he speaks all hint at it whereas the Rochester Fassbender enacted doesn’t.

As for Judi Dench’s portrayal of Mrs. Fairfax, I imagined Mrs. Fairfax to be more friendly.

The actress gives off an air of cool dignity even when she doesn’t mean to (which made her an excellent Lady Catherine de Bourgh in the 2005 Pride and Prejudice), so she didn’t really seem an ideal Mrs. Fairfax. I also felt Sally Hawkins’s Aunt Reed not as cold-blooded and heartless as the Mrs. Reed described in the novel. They are both incredible actresses, but I did not think they were fit for the roles depicted in the book.

Although it is alright for films to be different from its source, I think for timeless classics like Jane Eyre, which its major audience will inevitably be its literary fans, straying from its source material isn’t very effective or wise, at least in assuming the status as the “best” adaptation. To be completely honest, I stopped watching the 2011 film halfway through because I lost interest in it. Mr. Rochester didn’t seem to love Jane, and when he did appear so, it felt abrupt. I had to force myself to resume despite the alluring aesthetics of the film.

Official poster for the film Jane Eyre released on March 11, 2011.

I prefer the 1983 Jane Eyre to the 2011 adaptation, because the cast feels closer to the actual characters from the novel and because it adheres so carefully to the text in an effective way.

It’s so faithful to the novel that it even includes the scene where Mr. Rochester disguises himself as the old Gypsy woman! However, as I would sometimes watch the 2005 Pride and Prejudice, I would watch the 2011 Jane Eyre whenever I have time to spare. But in both cases, I must say the older televised versions far surpass the newer films.

Here is a clip from the 2011 Jane Eyre that I consider to be the best moment in the film:

https://youtu.be/xM_4IEnNCMM
According to YouTube, I am not the only one who considers this scene the best in the film! It is powerful… Best moment enacted by Michael Fassbender’s Mr. Rochester.
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Wuthering Heights: Sympathies to Edgar, the Greatest Victim

Wuthering Heights

One of the rare upsides to the current global pandemic is that it enables one to focus one’s leisure time on reading. The quarantine, which has been lasting almost an entire year now, forces a reluctant reader to open up a chapter book and devour its contents. I’ve never been an avid reader – reading has never been a top priority of mine. (I prefer going outside and exploring new places and meeting people). Yet, I do enjoy reading and have a number of titles which I treasure as my favorites. One of them is Emily Bronte’s Wuthering Heights.

“Ellis Bell” was Emily Bronte’s pseudonym.

I’ve read it at least twice, but I feel like I’ve read it much many more times. Perhaps it’s due to the fact that I happen to have a Korean manwha (comic book) of the said classic. Or maybe it’s because the novel has left such a strong impression on me the first time I read it. Whatever the reason may be, I feel as if I know the novel more than I do. (Perhaps it’s due to the fact that even after years since last reading it, I still vividly know the family tree of the Earnshaws and the Lintons without getting confused).

New Discoveries

Korean comic (manwha) version of Wuthering Heights.
The manwha (Korean comic) version of Emily Bronte’s Wuthering Heights. This is one of the Samsung Comic Classics Series published in South Korea. Image: Samsung Publishers

I am exactly on the seventeenth chapter as I speak, and it’s fascinating how refreshing it feels to reread it. I am rediscovering new points and focusing on things I’ve never realized or felt, including how among the many victims of fate (and of Heathcliff), Edgar Linton suffers the most.

Upon my first reading, my focus was on Heathcliff and Cathy, and how tragic their love story was. And despite his wicked ways, I felt sympathy for the former, as he suffered from severe child abuse committed by Hindley. But after finding out that Heathcliff does the same to Hareton, I ceased to sympathize. Yet, I still viewed Heathcliff as a victim as much as a perpetrator of evil. I guess I still do. But he really is more of a perpetrator than a victim.

But now I have this immense sympathy for Edgar Linton.

In my opinion, he was the one who suffered the most, a victim of both Heathcliff and Catherine. He grows up with his parents and sister Isabella and falls in love with his neighbor’s daughter, Catherine Earnshaw. He cares for her and showers her with love and attention. But her illness passes on to his parents when they take care of her and they both pass away when he is still young. He marries his love and treats her with utmost admiration and gentleness only to be betrayed by her when Heathcliff reenters the scene. As everyone who has read the novel knows, Catherine’s love for him was shallow and fake as opposed to her love for Heathcliff, which is shown as transcending death.

Heathcliff, fully aware of the fact, makes snide remarks in front of Edgar. Meanwhile, Catherine repeatedly chooses Heathcliff over her husband. Though she never admits it verbally, she shows that Heathcliff matters more to her, even passing out in his arms right before her death.

On top of this…

Heathcliff tricks Edgar’s little sister, Isabella, into a loveless marriage in order to use her as “Edgar’s proxy in suffering” (Bronte 143, Barnes & Noble Classics). Isabella passes away with a son she has with Heathcliff (most likely unwillingly), who is manipulated and neglected by his father until his early death. And as the cherry on top, Edgar’s only daughter, Catherine Linton, is also manipulated and ruined in Heathcliff’s evil designs.

As mentioned earlier, Edgar even lost his parents due to Catherine.

It was inadvertent, but nonetheless due to her as it has been described. And he also loses his sister, nephew, and daughter to the relentless, vengeful Heathcliff, who hates him to death because of Catherine. Because she, by her will and decision, forsakes him (her only love) to marry Edgar instead. Edgar’s home Thrushcross Grange is devoured by Heathcliff as well.

Catherine (Anna Calder-Marshall) and Heathcliff (Timothy Dalton) in Robert Fuest’s 1970 Wuthering Heights. Their love destroys everything around them, as well as themselves when Catherine abandons her soulmate, Heathcliff.
Image: Metro-Goldwyn-Mayer

Everyone in Wuthering Heights are, in one way or another, victims of fate.

Except, maybe, for Mr. Earnshaw who adopts Heathcliff on his whim without consulting his wife or asking his children. Hareton, Isabella, Linton, and Catherine Linton (Catherine Earnshaw’s daughter) are victims of Heathcliff who is a victim of Hindley, who is in a way a victim of Mr. Earnshaw’s imprudence and neglect. Heathcliff is also a victim of Catherine, who abandons him, her one and only soulmate, to marry the better-off Edgar.

But my greatest sympathies go to Edgar Linton, who fell in love and married his first love with her full consent and promise. Edgar adored his wife until the very end, but she hated him and coldly betrayed him. Rereading the novel, Edgar has suffered the most, losing his parents, sister, nephew, and daughter. All because of his wife and her selfishness and dishonesty along with her lover’s immorality and blinded hatred.

From Andrea Arnold’s 2011 Wuthering Heights. There are several film and drama adaptations of Emily Bronte’s novel, yet I find Arnold’s film the most aesthetic in terms of the atmosphere. Image: Oscilloscope Pictures