Movie Making And Movie Review

Classics have thick skin and they stand the test of time and changes. This is the case of milling the 2011 “Jane Eyre”, a dramatic adaptation, but a little boring and the disembodied masterpiece of Charlotte Bronte.

164 years after his birth, the myth of “Jane Eyre” still fascinates. This cruel story about unhappy childhood and the difficulty of completing a doomed love is universal. It can take place almost anywhere and at any time.

This is where lands the director Cary Joji Fukunaga. With its highly satisfactory “Sin Nombre”, it is where no one expects: to develop a new version that does not hesitate to transcend the original writings. Instead of recreating the eternal postcard as there are so many on the market, the filmmaker infuses the narrative his personal vision.

The gothic atmosphere is surreal. This could almost be a horror feature film, which was very interesting in itself. This is for another time, the stifling atmosphere of the first part leaves little by little his way to an antiquated romance, where the beautiful music by Dario Marianelli circumstance swells the ranks to create emotion, to move all this dust which tends to accumulate.

Much this painting is irresistible to watch (the game on the light and shadow and the great care given to the admirable art direction), as it hardly takes shape. The literary nature is in no way responsible for this defect that eventually annoy.

Several previous transpositions do not get caught in the carpet and feet, interesting for its social or moral issues. Here the melodramatic nature of the album is exponential, forcing most of the time the dose. It is hardly relieved by the dialogues that lack charm and finish, and secondary characters (those from Jamie Bell, Judi Dench and Sally Hawkins) sketched out too quickly.

The chemistry between the two protagonists is also not always go. Dazzling in “Hunger” and “Fish Tank”, Michael Fassbender does not seem motivated by a real fire burning towards Mia Wasikowska who is rather well with the skirt. Tim Burton’s Alice, however, is sufficiently lighted so as not to unnecessarily forcing the dose, making history in its place.

Far from the admirable effort directed by Robert Stevenson in 1944 (that starred Joan Fontaine, Orson Welles and Elizabeth Taylor on a screenplay by Aldous Huxley and a soundtrack by Bernard Herrmann), he leaves in 2011 despite his cold propensity to impress the retina. By dint of wanting to impress the director forgets that human warmth so important, that which gave the soul to the movies costumes such as “Atonement”, “Tess”, “Bright Star” and “Never Let Me Go”. When love ends up annoying is that there is a problem somewhere.