Jane Eyre

Ein Triumph des Klassizismus, der Gemäßigtheit des Films sowie der romantischen Eigenschaften. Wenn ich die Schauspieler nicht kennen würde, hätte ich Probleme, die Entstehungszeit des Films zu erraten. Wie dem auch sei, Jane Eyre lohnt sich gerade wegen der Schauspieler sowie einiger wunderbarer romantisierender Kompositionen. Es tut mir allerdings ein wenig Leid, dass Fukunaga sich das hier nicht für den Ruhestand aufgehoben und nicht dort mutig weitergemacht hat, wo er mit Sin Nombre - Zug der Hoffnung aufgehört hatte. (28.07.2011)

Jana Eyre war nicht auf Rosen gebettet. Sie hat sich dank einer guten Ausbildung vom Waisenkind zu einer Person entwickelt, die mit ihrer eigenen Explosivität umgehen kann, und wie es der Zufall will, hat sie in ihrer ersten Anstellung auch die Liebe ihres Lebens gefunden. Doch der Weg zur Liebe war nicht ohne Dornen. Jane musste Verzicht üben, die Prüfung der Verurteilung oberflächlicher Charaktere bestehen und mit Lügen und Ablehnung umgehen. Und wie es der Zufall so will, beendete die vom Leben geprüfte Heldin ihre Geschichte abgesichert und mit dem richtigen Mann verheiratet. Doch damit die Herzen nicht weinen, griff das Schicksal so ein, dass Rochester mit eigenen Augen für seine erste falsche Ehe bezahlen musste. (25.07.2012)

Warum "nur“ drei Sterne? Das Problem sind die Schauspieler*innen, konkret das Hauptdarsteller-Paar. Michael Fassbender hat mich als Rochester gar nicht überzeugt. Ich weiß nicht, vielleicht ist er für diese Rolle zu "schön“, vielleicht liegt es an etwas anderem. Er war aber bei weitem nicht so kühl und unmenschlich, wie ich ihn mir vorgestellt habe und wie er im Buch geschildert wird. Ich hatte den Eindruck, dass er an keinem Casting teilgenommen und die Rolle vor allem dank seiner aktuellen Popularität bekommen hat. Ich musste ständig an Ralph Fiennes und seine Schauspielleistung in Die Herzogin denken. So ungefähr stelle ich mir Rochester vor. Und dann gibt es hier Mia Wasikowska – für die Rolle von Jane ist sie geeignet und sie spielt auch gut. Michael Fassbender und sie passen aber irgendwie nicht zueinander und in ihren gemeinsamen Szenen habe ich nur sehr wenige Emotionen gespürt. Sehr schade. Ansonsten ist der Film gut gedreht, die Stolz-und-Vorurteil-Kamera hat für schöne Bilder gesorgt. Das hat mich aber trotzdem nicht vor Langeweile beschützt. Dario Marianelli hat diesmal auch nicht besonders geglänzt. (05.02.2012)

"Jane Eyre" ist ein zeitloser Klassiker aus der Feder einer der berühmtesten Schriftstellerinnen ihrer Zeit, der in einer außerordentlich beeindruckenden Verfilmung wieder zum Leben erweckt wird. Das Waisenkind, das seit seiner Kindheit von einem Übel ins nächste gestoßen wurde, wächst zu einer jungen und intelligenten Frau heran, die sich auch von dem scheinbar furchterregenden Besitzer eines riesigen, von Geheimnissen umgebenen Anwesens nicht einschüchtern lässt. Mia Wasikowska hat ihre bisher überzeugendste Rolle gespielt, Michael Fassbender gewinnt mit seinem chamäleonartigen Spiel immer mehr meine Sympathie, und Judi Dench und Jamie Bell in Nebenrollen zu besetzen, war die richtige Entscheidung, und ich gebe beiden Daumen hoch. Der Schauplatz England hat mich schon immer in vielerlei Hinsicht gereizt, und dieser Film fängt all das dank der großartigen Kameraführung und Filmkunst perfekt ein. Und die Musik, die nur geringfügig ist, trägt auf subtile Weise zur ohnehin schon unheimlichen Atmosphäre des Films bei, die paradoxerweise das Herz erwärmt. Kurzum, ein Film, von dem ich genau das bekommen habe, was ich erwartet habe, und noch etwas mehr, was für mich als Zuschauer das Wichtigste ist. (09.09.2011)

- I dream. - Awaken then. Jane Eyre is a mature synthesis of two “women’s genres”: melodrama and gothic horror. The narrative complies with the intentions of feminist discourse, taking into account the numerous restrictions that 19th-century women had to overcome, while not hyperbolising them to such an extent that the film would become another hopeless story of female suffering. The protagonist is self-confident and conscious of her abilities, and her calm dialogues with her “master” do not correspond to the traditionally depicted relationship between superiority and subordination. Cautiously being in love without fully giving herself over to her partner blunts the sentimental edges of the melodramatic level and makes it impossible to watch Jane Eyre as a straightforward tear-jerker. Fukunaga’s adaptation uses the classic novel to pose topical questions without doggedly striving for modernity in any other aspects of the film – cinematography, production design, the characters’ vocabulary. In other words, the film’s creators interpret the original novel as people instructed by developments in thinking about the social position of women, and as such logically project into it what Brontë could only consider to be a utopia in her time. Thanks to that, the film achieves an extraordinary balance between the modern and the classic. 85% (01.08.2016)

Old-fashioned English romantic dramas aren’t the kind of genre that I would go after, but the good reviews drew me to the cinema (it’s not that there are that many good films this summer to let this one pass :-D), and I don’t regret it. It’s a brilliantly made film that managed to hold my attention. Rather than romantic, as in romance, I felt it was more romantic as in romanticism, because the romance itself doesn’t work so well, but the gloomy atmosphere of the English countryside was wonderful. Fukunaga could have a go at horror for his next film, when it comes to scares, he managed some interesting things in those scenes. (29.07.2011)

Extreme romanticism via an atmosphere à la Gothic horror. Simply gestures instead of speeches. Courting by the fireplace through verbal exchanges that make Nadal versus Federer a boring watch. It’s hopes of being movie theatre experience of the year are dashed by the emotionally chilly ending where gestures gave way to speeches and other maladies very familiar in most adaptations of the classics of Romanticism. (29.07.2011)

As a viewer and reader who has always somehow avoided Jane Eyre, I couldn't have chosen a better version for our first meeting. However, this satisfied realization weighed on me quite heavily. After half an hour of the main heroine's suffering, almost in the style of Oliver Twist, I was shaking my head at the dysfunctionality of the events on the screen and the contradictory atmosphere that wouldn't let me properly engage in the story. But as soon as Michael Fassbender comes on the scene, the 19th century tableau takes on completely different colors, whether in the colorful reflections of twisted romance, the captivating small dialogue, or the darker shades in provocative scenes of the castle's mystery. And when I reached the reveal and the perfectly fitting ending, I felt relieved. The heart's melody plays loudly enough, Fassbender slowly conquers the wide Hollywood set, and there is a new (and very resonating) piece of complex historical romance in the world. (04.08.2011)

I knew the story, and I sort of knew what to expect from it. I'd actually seen the 1996 film, which I thought was only slightly worse than this one. After all, this one had a bigger cast, a bigger budget, and I dare say a better story setup that would make you watch the movie even if you had no idea what it's about. And yet in truth, the sequence of events was fast-paced, with no concept of time and for no chance to capture a meaningful feeling. Fortunately, this was occasionally helped by the music, so then again the lack of feeling wasn’t too bad. Mr. Rochester and Jane had an interesting rapport, you could enjoy them. But even so, the film was perhaps a bit drawn out (St. Someone, getting the siblings, etc.) and cluttered. I’m giving it those four stars for the fact that it left a feeling in me, even though I don’t know how. When the credits started running across the screen, I knew it definitely hadn’t been a waste of time to see this old Victorian romance story again. Still, I can't help but like her sister Emily and her Wuthering Heights much better. A weak 4 stars and "my, their English...!". (20.01.2012)

An exquisite Victorian romance, perfectly in tune with the current formal and aesthetic trends of modern filmmaking. Raw cinematography, zero pathos and spare dialogue passages, where everything is focused on editing, the actors' facial expressions and overwhelmingly unspoken emotions. Very modern yet period-accurate and full of the traditional values we love so much in these tales of fate from yesteryear. You'd almost want to say that these cinematic affairs were left in the dust somewhere in the late nineties, but thankfully that's not true, they're still around today, they're just far fewer and of a good quality. (09.09.2015)

Jane Eyre is not exactly a film I would want to watch alone, but I was interested, so I took the opportunity to watch it with my girlfriend. I must say I was quite curious about how the collaboration between Mia Wasikowska and Michael Fassbender would work. I was very surprised by how well they complemented each other. Michael Fassbender once again demonstrated that it doesn't matter how many films he makes each year; he remains perfect and always different and distinctive. I could praise him endlessly, but I must also highlight Mia. As an Australian, she blended beautifully into the British setting, and above all, she delivered an excellent performance, for which I'll forgive her for Alice in Wonderland. I am not familiar with the original work, and this was also my first cinematic encounter with Jane, but I think some moments here were a bit weaker. Especially the moment when they finally declare their love for each other. The transition from British conservatism and coldness to an American smile and maximum emotional expression felt sudden. I know the audience wants this, but wouldn't it have been better if a slight detachment had remained? That would have made the ending much stronger, which ultimately proves that Charlotte Brontë's books were not just ordinary romance novels and still hold their power today. (22.02.2013)

Compared to the original, only a rough outline of how Jane Eyre could really work. This story is so extensive and detailed with lots of symbols and motifs that the movie version simply lacked. The atmosphere, however, is captured excellently, and Mia Wasikovska embodied this character perfectly, although I sometimes had different feelings about her than in the book. The style, costumes, and camera work were flawless, but I give an average rating simply because the book surprisingly resonated more with me, and the movie felt quite deprived. (04.02.2022)

Under no duress I confess that this adaptation of Charlotte Brontë's famous Victorian novel Jane Eyre is definitely among my best loved movies. The main positives undoubtedly include the very successful costume design, the masterful cinematography and the mysterious atmosphere that breathes from most of the shots. The movie is also adorned with the all-pervading romanticism of a bygone era. However, I was most enthused about the central duo played by Mia Wasikowska and Michael Fassbender. There was such great chemistry between them that I believed every look, touch, and kiss. (85%) (18.03.2022)