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!