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  • The publication of Jane Eyre in 1847 heralded a new direction in prose fiction

  • featuring a complex female protagonist.

  • Charlotte Brontë, like her sisters,

  • wrote under a pseudonym to explore the issues of class and status

  • within Victorian society.

  • Told through a first-person narrative, her novel was an immediate success.

  • The many attempts to bring Jane Eyre to life through film,

  • television, and stage adaptations reflect the ongoing relevance of the novel.

  • Since 1910, there has been at least one screen adaptation per decade

  • but today, we'll take a look at just five popular adaptations of Jane Eyre.

  • This is Jane Eyre, by the book.

  • "Do you think because I'm poor and obscure and plain,

  • that I'm soulless and heartless?

  • I have as much soul as you and fully as much heart.

  • And if God had gifted me with wealth and beauty,

  • I should have made it as hard for you to leave me,

  • as it is now for me to leave you."

  • First released in the United Kingdom,

  • this film adaptation enhanced the novel's Gothic elements,

  • emphasizing the shadowy darkness of Lowood and Thornfield

  • in contrast to Jane's purity and light.

  • Despite having been shot entirely in a studio,

  • the film was noteworthy for its atmospheric depiction of the moors.

  • Based on a radio adaptation of the novel,

  • the film focused on the romantic high points of the book

  • and less on Jane's developing sense of self.

  • Major episodes from her early life were drastically diminished.

  • Jane's time spent with the Rivers

  • and her attaining financial independence were omitted entirely.

  • The character of St. John becomes Doctor Rivers,

  • a kindly physician who looks out for Jane.

  • "Dreaming again, Jane?" "Oh, Dr. Rivers!"

  • "I know somebody's going to be late for inspection."

  • "Not this time, I'll beat you there!"

  • The last quarter of the book is reduced into Jane's reconciliation

  • with her dying aunt, and of course, the final scene with Rochester.

  • Orson Welles not only helped produce the film,

  • but also starred as the tortured Byronic hero.

  • "Jane..."

  • The expository intertitles create the appearance of being true to the novel's text,

  • but were in actuality, written exclusively for the film.

  • The 1943 film would set a pattern for future adaptations

  • as to which elements of Brontë's novel would be highlighted or excluded.

  • This version of Jane Eyre remains one of the most iconic Gothic romances

  • as told in the classic melodramatic style.

  • "Do you think because I'm poor, obscure, plain, and little, I'm soulless and heartless?

  • I have as much soul as you and full as much heart

  • and if God had blessed me with some beauty and much wealth,

  • I would have made it as hard for you to leave me now as it is for me to leave you."

  • Several adaptations of Jane Eyre have been produced for television,

  • with the BBC's 1983 miniseries being among the more faithful renditions of the novel.

  • We see key moments that are often left out in other adaptations,

  • like Rochester masquerading as an old gypsy woman.

  • "Is there not one face that you study?"

  • Jane Eyre was one of the first novels of the Victorian era that illustrated

  • what it felt like to be a child, as seen from a first-person perspective.

  • With the series, we get a fuller picture of Jane's time at Lowood

  • beyond her friendship with Helen Burns.

  • There are only a few points at which the adaptation veers away from the source material.

  • The 1983 series preserves Brontë's original text and most of the dialogue.

  • Because of its five-and-a-half hour running time,

  • there was also ample opportunity to explore Jane's experiences after leaving Thornfield

  • and to further develop Jane and Rochester's slow-burning relationship.

  • "I may be poor and plain, but I'm not without feelings.

  • It's not the house but the life I lived here.

  • I was not trampled on, I was not excluded.

  • I was treated as an equal."

  • The 1996 feature film adaptation is initially characterized by a sense of misery

  • as it emphasizes Jane's harsh childhood years.

  • Although conditions at the school do improve in the novel,

  • the film hones in on the scenes of physical and psychological suffering.

  • In this version, Jane feels guilty for leaving Miss Temple at Lowood,

  • which is completely different than what happens in the book.

  • "But I believe it is God's will that I'm here.

  • I cannot leave."

  • Director Franco Zeffirelli, known for his adaptation of Romeo and Juliet,

  • endeavored to capture Jane and Rochester's emotional complexity.

  • The movie does rush through some of the primary segments of Jane's life

  • that don't involve Rochester, particularly toward the end of the film.

  • "Haunted by old memories, I made my way back to Gateshead Hall,

  • and to the home of the parson, Mr. Rivers, who had once been kind to me."

  • Because Jane meets her cousin earlier in the film,

  • she doesn't have to wander the moors,

  • but instead simply takes the carriage to the parsonage to recover.

  • The filmmakers strive to balance fidelity to the novel with audience expectations.

  • This adaptation opted for a more austere treatment of the narrative

  • coupled with vibrant and scenic surroundings.

  • "Do you think because I'm poor, plain, obscure, and little,

  • that I have no heart,

  • that I'm without soul?

  • I have as much heart as you, and as much soul.

  • And if God had given me some beauty and wealth,

  • I would make it as hard for you to leave me as it is now for me to leave you.

  • This four-part BBC miniseries adds a modern touch to the classic

  • combined with detailed costumes and evocative performances.

  • The series opens by providing a glimpse into young Jane's world,

  • but devotes less time overall to her childhood.

  • It condenses the years spent at Gateshead and Lowood

  • within the first 15 minutes.

  • Several characters and episodes are left out completely.

  • Instead, additional scenes were created to underscore the romantic chemistry

  • between Jane and Rochester.

  • This adaptation also gives attention to Jane's platonic friendship with St. John

  • and introduces him as a credible rival to Rochester.

  • As in the novel, Jane seriously considers his proposal.

  • The 2006 version also includes the seldom-depicted plot point involving Miss Oliver.

  • "Honestly St. John, he's as inexorable as death!"

  • "She adores him--" "And he adores her!"

  • Several scenes from the novel are moved to different times of the narrative.

  • The events surrounding Jane's flight from Thornfield are revealed as flashback sequences.

  • As with more recent film and TV versions of Jane Eyre,

  • the adaptation provides rational explanations for the mystical elements.

  • "You don't think it possible that two minds can be so in tune,

  • that they communicate across the country,

  • and call out to each other across space and time?"

  • It also updates the dialogue for a more contemporary feel

  • and focuses on capturing the emotional core of the novel.

  • "Do you think that because I am poor, obscure, plain, and little,

  • that I am soulless and heartless?

  • I have as much soul as you, and full as much heart,

  • and if God had blessed me with beauty and wealth,

  • I could make it as hard for you to leave me as it is for I to leave you!"

  • This adaptation takes a different approach by starting off with Jane leaving Thornfield.

  • This resolves the issue of introducing new characters more than halfway through the film.

  • The new structure presents the bulk of the story in flashback,

  • switching from Jane's past to her current situation with the Rivers.

  • The reordering of events allow for the two relationships to develop in parallel,

  • while keeping the flow of the story intact.

  • Without a voiceover or intertitles,

  • Jane has to convey her inner monologues through gestures, looks, and inflections.

  • Inevitably, the film has to sacrifice nuances and character

  • by heightening the intensity of their emotions.

  • Moreover, the issue of social class is somewhat glossed over,

  • although Jane Eyre's relationship with her aristocratic employer

  • would have broken all the roles of Victorian social hierarchy.

  • "You'll leave me then?"

  • "I'm cold."

  • The film strives to capture the feeling and content of the novel as a whole,

  • including the Gothic elements, the connection between the protagonists,

  • and the viewpoint of the story from Jane's perspective.

  • Jane Eyre continues to confound expectations over a century after its publication.

  • In this multifaceted Bildungsroman, Jane goes on a journey of personal discovery

  • and overcomes adversity to find happiness and self-respect.

  • Undoubtedly, the novel has inspired countless authors and filmmakers,

  • a testament to Brontë's storytelling that few have tampered

  • with the original characters, plot, and setting.

  • Each adaptation brings to light different aspects of Jane Eyre,

  • but the unconventional love story remains paramount for many viewers.

  • Let us know which adaptation you appreciate the most.

  • Thanks for watching!

The publication of Jane Eyre in 1847 heralded a new direction in prose fiction

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Book vs. Movie: Jane Eyre Film & TV Adaptations (1943, 1983, 1996, 2006, 2011)

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    Vera   に公開 2020 年 04 月 08 日
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