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adobongsiopao · 6 months

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Article about "Jane Eyre" 1994 radio version starring Sophie Thompson and Ciaran Hinds from an old issue of Radio Times magazine. It also includes brief summary about previous "Jane Eyre" adaptations from movies and TV serials.

Source: https://twitter.com/DebsGreenJones2

#jane eyre #charlotte bronte #jane eyre 1994 #sophie thompson #ciaran hinds #jane eyre 1934 #jane eyre 1943 #jane eyre 1956 #jane eyre 1963 #jane eyre 1970 #jane eyre 1973 #jane eyre 1983

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princess-suzanne · 1 year

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💗 MOVIE TAGS 💗

🤍 a bear named winnie (2004) 🤍 a dangerous method (2011) 🤍 a fistful of dollars (1964) 🤍 a most violent year (2014) 🤍 a room with a view (1985) 🤍 a royal affair (2012) 🤍 a streetcar named desire (1951) 🤍 a woman is a woman (1961) 🤍 an education (2009) 🤍 agora (2009) 🤍 all about eve (1950) 🤍 amadeus (1984) 🤍 and god created woman (1956) 🤍 angel (2007) 🤍 armageddon time (2022) 🤍 the artist (2011) 🤍 ashes and diamonds (1958) 🤍 atonement (2007)

🤍 the banshees of inisherin (2022) 🤍 barefoot in the park (1967) 🤍 the beguiled (2017) 🤍 belle (2013) 🤍 the big sleep (1946) 🤍 the birds (1963) 🤍 bonnie and clyde (1967) 🤍 bram stoker’s dracula (1992) 🤍 breakfast at tiffany’s (1961) 🤍 brokeback mountain (2005) 🤍 brooklyn (2015) 🤍 bugsy (1991) 🤍 butch cassidy and the sundance kid (1969)

🤍 cabaret (1972) 🤍 captain america: the first avenger (2011) 🤍 carnival of souls (1962) 🤍 carol (2015) 🤍 casablanca (1942) 🤍 casino (1995) 🤍 cat on a hot tin roof (1958) 🤍 chicago (2002) 🤍 cléo de 5 à 7 (1962) 🤍 cleopatra (1963) 🤍 cria cuervos (1976) 🤍 crimson peak (2015)

🤍 daisies (1966) 🤍 dangerous liaisons (1988) 🤍 the danish girl (2015) 🤍 dead poets society (1989) 🤍 the debt (2010) 🤍 dirty dancing (1987) 🤍 don’t bother to knock (1952) 🤍 don’t worry darling (2022) 🤍 dracula (1931) 🤍 the duchess (2008) 🤍 dunkirk (2017)

🤍 east of eden (1955) 🤍 the edge of love (2008) 🤍 eileen (2023) 🤍 elizabeth (1998) 🤍 elizabeth: the golden age (2007) 🤍 elvis (2022) 🤍 emma (2020) 🤍 the end of the affair (1999) 🤍 the english patient (1996) 🤍 enola holmes (2020) 🤍 the eyes of tammy faye (2021)

🤍 fanny and alexander (1982) 🤍 the favourite (2018) 🤍 for a few dollars more (1965) 🤍 funny girl (1968)

🤍 gentlemen prefer blondes (1953) 🤍 giant (1956) 🤍 gilda (1946) 🤍 the girl on a motorcycle (1968) 🤍 gladiator (2000) 🤍 the godfather (1972) 🤍 the godfather: part ii (1974) 🤍 gone with the wind (1939) 🤍 the good, the bad and the ugly (1966) 🤍 goodfellas (1990) 🤍 the graduate (1967) 🤍 the grand budapest hotel (2014) 🤍 grand hotel (1932) 🤍 grease (1978) 🤍 the great gatsby (1974) 🤍 the great gatsby (2013) 🤍 guess who’s coming to dinner (1967)

🤍 the help (2011) 🤍 high noon (1952) 🤍 hiroshima mon amour (1959) 🤍 how to marry a millionaire (1953) 🤍 how to steal a million (1966)

🤍 ida (2013) 🤍 il gattopardo (1963) 🤍 the immigrant (2013) 🤍 in secret (2013) 🤍 inglorious basterds (2009) 🤍 it happened one night (1934)

🤍 jane eyre (2011)

🤍 the king (2019) 🤍 knife in the water (1962)

🤍 la dolce vita (1960) 🤍 la notte (1961) 🤍 la strada (1954) 🤍 ladies in lavender (2004) 🤍 lady chatterley’s lover (2015) 🤍 lady macbeth (2016) 🤍 the lady from shanghai (1947) 🤍 the last duel (2021) 🤍 legend (2015) 🤍 les misérables (2012) 🤍 the light between oceans (2016) 🤍 little women (2019) 🤍 the lover (1922) 🤍 the love witch (2016) 🤍 l’avventura (1960) 🤍 l’eclisse (1962)

🤍 macbeth (2015) 🤍 malèna (2000) 🤍 man with a movie camera (1929) 🤍 marie antoinette (2006) 🤍 mary, queen of scots (2018) 🤍 the master (2012) 🤍 meshes of the afternoon (1943) 🤍 miller’s crossing (1991) 🤍 the mirror (1975) 🤍 the misfits (1961) 🤍 moulin rouge! (2001) 🤍 the mummy (1999) 🤍 my fair lady (1964)

🤍 ninotchka (1939) 🤍 north by northwest (1959) 🤍 the northman (2022) 🤍 nosferatu the vampyre (1979)

🤍 once upon a time in america (1984) 🤍 once upon a time... in hollywood (2019) 🤍 once upon a time in the west (1968) 🤍 operation finale (2018) 🤍 the other boleyn girl (2008) 🤍 outlaw king (2018)

🤍 the pale blue eye (2022) 🤍 persona (1966) 🤍 phantom thread (2017) 🤍 the pianist (2002) 🤍 picnic at hanging rock (1975) 🤍 pride & prejudice (2005) 🤍 the prince and the showgirl (1957) 🤍 priscilla (2023) 🤍 the promise (2016) 🤍 psycho (1960) 🤍 the public enemy (1931) 🤍 purple noon (1960)

🤍 raging bull (1980) 🤍 rebel without a cause (1955) 🤍 rear window (1954) 🤍 repulsion (1965) 🤍 river of no return (1954) 🤍 the roaring twenties (1939) 🤍 rocco and his brothers (1960) 🤍 roman holiday (1953) 🤍 rosemary’s baby (1968) 🤍 rush (2013)

🤍 scarface (1932) 🤍 scarface (1983) 🤍 sense and sensibility (1995) 🤍 the seven year itch (1955) 🤍 the seventh seal (1957) 🤍 singin’ in the rain (1952) 🤍 sissi (1955) [trilogy] 🤍 slow west (2015) 🤍 some like it hot (1959) 🤍 the sound of music (1965) 🤍 splendor in the grass (1961) 🤍 the sting (1973) 🤍 stoker (2013) 🤍 summerland (2020) 🤍 sunset boulevard (1950) 🤍 sweet bird of youth (1962) 🤍 the swimming pool (1969)

🤍 their finest (2016) 🤍 the third man (1949) 🤍 this property is condemned (1966) 🤍 titanic (1997) 🤍 to catch a thief (1955) 🤍 to kill a mockingbird (1962) 🤍 tokyo story (1953) 🤍 the two faces of january (2014)

🤍 vertigo (1958) 🤍 vita & virginia (2018)

🤍 walk the line (2005) 🤍 waterloo bridge (1940) 🤍 west side story (1961) 🤍 white noise (2022) 🤍 who’s afraid of virginia woolf? (1966) 🤍 the wild one (1953) 🤍 wild strawberries (1957) 🤍 woman walks ahead (2017) 🤍 the wonder (2022) 🤍 wuthering heights (1992)

🤍 the zookeeper’s wife (2017)

#navi

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kaelio · 4 months

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Howard Allen Frances O'Brien (Anne Rice) is in the center of this photograph depicting children using the Children's Department in the Main Library at Lee Circle in 1953. Photograph by the Times-Picayune/New Orleans States

Born on October 4, 1941 in New Orleans, Anne Rice (born Howard Allen Frances O'Brien was the second of four daughters of Irish Catholic parents, Howard O'Brien and Katherine "Kay" Allen O'Brien. Her father, a Naval veteran of World War II and lifelong resident of New Orleans, worked as a Personnel Executive for the U.S. Postal Service and authored one novel, The Impulsive Imp, which was published posthumously. [...] Rice spent most of her childhood and teenage years in New Orleans, the city that forms the backdrop against which many of her works are set.

Her early years were marked by coping with the family's poverty and her mother's alcoholism. She and her family lived in the rented home of her maternal grandmother, Alice Allen (known as "Mamma Allen") at 2301 St. Charles Avenue in the Irish Channel, which Rice says was widely considered a "Catholic Ghetto". Allen, who began working as a domestic shortly after separating from her alcoholic husband, was an important early influence in Rice's life, keeping the family and household together as Rice's mother sank deeper into alcoholism. Allen died in 1949, but the O'Briens remained in her home until 1956, when they moved to 2524 St. Charles Avenue, a former rectory, convent, and school owned by the parish, to be closer to both the church and support for Katherine's addiction.

As a young child, Rice studied at St. Alphonsus School, which was previously attended by her father. About her unusual given name, Rice said: "Well, my birth name is Howard Allen because apparently my mother thought it was a good idea to name me Howard. My father's name was Howard, she wanted to name me after Howard, and she thought it was a very interesting thing to do. She was a bit of a Bohemian, a bit of mad woman, a bit of a genius, and a great deal of a great teacher. And she had the idea that naming a woman Howard was going to give that woman an unusual advantage in the world."

[...]

When Rice was fifteen years old [note: fourteen], her mother died as a result of her alcoholism. Soon afterward, she and her sisters were placed by their father in St. Joseph's Academy. Rice described St. Joseph's as "something out of Jane Eyre ... a dilapidated, awful, medieval type of place. I really hated it and wanted to leave. I felt betrayed by my father."

In November 1957, Rice's father married Dorothy Van Bever. In 1958, when Rice was sixteen, her father moved the family to north Texas, purchasing their first home in Richardson. Rice first met her future husband, Stan Rice, in a journalism class while they were both students at Richardson High School.

[x]

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allpartofthejob · 11 months

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Post 7 Comfort Movies & Tag 7 People

Tagged by @missfisherandjack & @jupinner 🧡

Thinking of comfort movies made my (Mon)day! 💕

Pride & prejudice (1995)

North & South (2004)

Jane Eyre (2006)

Batman begins (2005)

Nim's Island (2008)

War & peace (1956)

A Knight's tale (2001)

I'm randomly tagging (pls ignore if you don't like/ already have ☺️) @bethanydelleman @miss-fisher-in-data @midnight-els @everyladydetectiveneedsahobby @adelaideismyhood @know-the-way @lotus-ignis

#tag game #comfort movies

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justahappycloud · 4 months

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@duquesademiel tagged me to share my top 10 books (1) of the year so here they go in no specific order bc i read a lot this year and if i think too much about it i will combust (it's dec 30th, it's illegal to think too much)

but since it's still me, you also get a loose synopsis and we can pretend this is also a book rec list, okay? it's a win-win, i know.

📚 Babel: An Arcane History by R. F. Kuang

a postcolonial view of steampunk magic England from 1982. revolution and all its ugly but powerful reality. long, but really worth it.

📚 Cenizas de Carnaval by Mariana Travacio

a collection if short stories focused on the fragility of life. read it in august i think but i still think about the stiry of the man and the glue

📚 Under The Whispering Door by T. J. Klune

magic and grief and gay and death and gay and life and GAY. loved it. not as much as the house in the cerulean sea, but really loved it

📚 Malibu Rising by Taylor Jenkins Reid

reading this with sand under my feet and the sound of the ocean was one of my best ideas, ngl. interesting story, not one of my faves, but it was good

📚 A Spoonful of Murder by J. M. Hall

murder solved by retired teachers. 10/10

📚 The Embroidered Book by Kate Heartfield

the story of the life of marie antoinette and her sister charlotte except they can do magic. what are you waiting for??? go and read it!!

📚 Operación Masacre by Rodolfo Walsh

non-fiction retelling of the events that occurred on july 9th, 1956, when 12 civilians were arrested in Argentina before being illegally executed

📚 Orlando by Virginia Woolf

mock-biography of the famous poet of the 17th (and 18th, and 19th, and 20th) century, Orlando.

📚 The Grimrose Girls by Laura Pohl

fairytale retellings with a macabre twist, very focused on friendship and #girlpower [part of a duology]

📚 Nosotros dos en la tormenta by Eduardo Sacheri

historical fiction about two friends from opposing revolutionary units in 1975's Argentina

📚 A Marvellous Light by Freya Marske

fantasy historical fiction about two members of the bureaucracy who represent two different worlds (that of magic humans and normal humans) who must work together when the imposition of one world over the other puts all of them at risk. [part of a series]

📚 The Foxhole Court by Nora Sakavic

invented sports. found family. mafia. gay and ace. it reads like a fanfiction both derogatorily and affectionately, so read at your own risk, but i did read all three books in three days

📚 El Juguete Rabioso by Roberto Arlt

alternatively titled "Silvio Astier Tries To Be The Most Successful Thief Of Buenos Aires And Fails Spectacularly At It (HAPPY ENDING)"

📚 Pride and Prejudice by Jane Austen

not a synopsis bc you know what the book's about but just a note to say that i had this books since my last year of highschool and only now i got to read it, so yay me, tying loose ends from the worst period of my life

📚 Wide Sargasso Sea by Jean Rhis

a prequel to jane eyre told from the point of view of bertha mason, previously known as antoinette cosway

📚 A Mercy by Toni Morrison

1680s story about a family of misfits and what happens to this group of slaves when the man who enslaved them dies

open tag bc if you made it this far i want to know what you've read so i can get recs for next year 👀

(1) sol fucked up so you get +10 recs, but you don't have to be insane like me and you can o it the normal way

#damn #i did read a lot in spanish this year #but good for me bc that's what i wanted hsjfsh #tag you're it #also i cheated with like three of these bc i read them for uni #but since i enjoyed them and they didn't feel like work i'll count them

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porciaenjoyer · 1 year

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3 and 13 i must know

hello lesbiancassius….

3. top five books of the year

- 1. the count of monte cristo by alexandre dumas. i formed an obsession with this book that still has not left. the characters, adventure plot, copious subplots that are all connected et cetera made this book sooo amazing for me.. granted you probably need to be exceedingly invested in the story in order to stick with it but personally my jaw was dropping every chapter. it felt like reading a long series snd there's been a hole in my soul ever since i finished it..

- 2. julius caesar by william shakespeare. obviously.... this play had an extensive impact on my entire year and it's on my mind 24/7. there is so much there i'm in love with it .

- 3. frankenstein by mary shelley. reading this changed me i think. i reeeally connected with it when i read it for the first time and it has a special place in my heart now

- 4. jfk: coming of age in the american century, 1917-1956 by fredrik logevall. disclaimer i STILL haven't finished this (it's so dense). however it's such a thorough biography that i feel like to leave it out would do a disservice to the time i've spent so far reading it. this book is thorough and well-researched and looks at so many aspects of jfk's life prior to running for president. i WILL finish it. one day

- 5. this isn't really one book but i have the bacchae and other plays by euripides which includes ion, the trojan women, helen, and the bacchae. and i really enjoyed those. not much to say i just liked them all for different reasons

13. least favourite books of the year

jane eyre. i’ll say no more….

#epistulae

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llovelymoonn · 2 years

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on girlhood

mary moore easter mama said... \\ gustav klimt mother and twins \\ @hungryfictions \\ synchrodogs (roman noven & tania oldyork) \\ emily brontë wuthering height \\ prosper d' epinay sylvia \\ @seravph i think i am going to cut my hair \\ clarice lispector soulstorm: stories: "miss algrave" (tr. alexis levitin) \\ jane eyre (2011) dir. cary fukunaga \\ michael ryan girls' middle school orchestra \\ charles blackman dreaming alice (1956) \\ mary szybist incarnadine: "girls overheard while assembling a puzzle"

kofi

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derangedrhythms · 3 years

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Do you have a collection of quotes denoting a devouring, undefeatable, ever-consuming passion?

"And I would wander across all the deserts of this world, even after death, to search for you—"

— Alejandra Pizarnik, Extracting the Stone of Madness; from ‘The Dream of Death, or The Site of the Poetical Bodies’, tr. Yvette Siegert

"It is too much to love this way. I need him near me every moment—more than near, inside of me."

"It is like a furnace when we meet."

— Anaïs Nin, from 'Henry and June'

"To say we were 'in love', that vague weakened phrase, cannot express it. We loved each other, we lived in each other, through each other, by each other. We were each other."

— Iris Murdoch, from 'The Sea, the Sea'

"...he’s more myself than I am. Whatever our souls are made of, his and mine are the same..."

— Emily Brontë, from 'Wuthering Heights'

"No woman was ever nearer to her mate than I am: ever more absolutely bone of his bone and flesh of his flesh."

— Charlotte Brontë, from 'Jane Eyre'

"Do you know what I want of life? / That I can be with you, you, all of you, / and if life repeated a thousand times, / still you, you, and again, you."

— Forugh Farrokhzad, Asir (Captive); from ‘On Loving’, tr. Sholeh Wolpé

"Here I am back and smouldering with passion, like wine smoking. Not a passion any longer for flesh, but a complete hunger for you, a devouring hunger."

"…a love such as I have never had for another human being. Not one [...] You are my woman and I must have you all to myself and I shall never surrender you."

"Let us knit together, absolutely. Move into me [...] stay there, don’t ever move away from me, not in a single thought."

— Henry Miller, from 'A Literate Passion: Letters of Anaïs Nin & Henry Miller 1932-1953'

"To stay with you for one night I would throw away my whole life, sacrifice a hundred persons, […] be capable of anything."

— Anaïs Nin, from 'A Literate Passion: Letters of Anaïs Nin & Henry Miller 1932-1953'

"...I want someone who is fierce and will love me until death and know that love is as strong as death, and be on my side for ever and ever. I want someone who will destroy and be destroyed by me."

— Jeanette Winterson, from 'Oranges Are Not the Only Fruit'

"Nothing gets as close as this / I’m hopelessly devoted"

— PJ Harvey, 'As Close As This'

"I love you like fury"

— Sylvia Plath, The Letters of Sylvia Plath Volume I: 1940–1956; from a letter to Ted Hughes, 1st October 1956

"There’s a thing between us, an awesome fucking thing, can you feel it? It burns. Meant to be. We were. Meant to be."

— Sarah Kane, Complete Plays; from 'Phaedra's Love'

"I can’t believe any body ever loved like this; nobody will again. We will burn love to death all our long lives…"

— Sylvia Plath, The Letters of Sylvia Plath Volume I: 1940–1956; from a letter to Ted Hughes, 10th October 1956

"She loved him with all her soul, with the ferocity and trembling ardor of fear; and he was more than a god to her, much closer to an idol whom she worshipped, without restraint and beyond all measure."

— Jens Peter Jacobsen, from 'Niels Lyhne', tr. Tiina Nunnally

"We electrified each other. We caught on fire and burned and burned and burned."

— Bakara Wintner, from ‘WTF is Tarot? ...& How Do I Do It?’

"…their love was a lifelong love, a love for all the lives they might ever have had."

— Helen Oyeyemi, from ‘Mr. Fox’

"somehow somehow somehow communicate some of the/overwhelming undying overpowering unconditional all-encompassing heart-enriching mind-expanding on-going never-ending love I have for you."

— Sarah Kane, Complete Plays; from 'Crave'

"brave love, dream / not of staunching such strict flame, but come, / lean to my wound; burn on, burn on."

— Sylvia Plath, Collected Poems; from ‘Firesong’

"I shall do one thing in this life – one thing certain – that is, love you, and long for you, and keep wanting you till I die."

— Thomas Hardy, from 'Far From the Madding Crowd'

#compilations #long post #passion

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booksfromtheunderground · 2 years

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mes meilleures lectures de 2021

J'ai lu un total de 60 livres en 2021, parmi lesquels se trouvaient des incontournables, tels que Jane Eyre de Charlotte Brontë, et d'autres ouvrages bien plus discrets, comme le recueil poétique Trois rencontres de Vladimir Soloviev. Pour vous, j'en ai sélectionné 6 qui ont été mes plus belles découvertes littéraires de l'année — des livres que je vous souhaite de découvrir à votre tour et au plus vite.

1. l'iliade (homère, viiie s. av. j.-c.)

Je me suis considérablement étendue sur ce livre dans un précédent article donc je resterai brève, mais ma lecture de L'Iliade fut sans conteste ma meilleure lecture de l'année. Tout, de cette prose poétique homérique aux images répétitives de sang, d'eau, de mort mais aussi de vie m'a plue et marquée, bien plus que ce à quoi je m'attendais. Difficile de recommander L'Iliade qui fait probablement partie des livres les plus conseillés et discutés au monde, mais s'il est encore aussi présent dans notre culture et notre imaginaire littéraire, c'est pour d'excellentes raisons.

→ voir mon article

2. naked lunch (burroughs, 1959)

Naked Lunch, c'est l'effervescence narrative du XXe siècle mêlée à l'effervescence personnelle des membres de la Beat Generation. Dans ce roman à l'esthétique à la fois épileptique et rabelaisienne, Burroughs donne à voir un monde sous-terrain (celui des drogués, des gays, des pauvres, des minorités en somme) dans ce qu'il a de plus absurde : avec les hallucinations et la paranoïa quotidienne des junkies viennent des histoires d'orgies où plaisir et mort s'entremêlent, de chirurgiens aux ambitions "frankensteinesques", plus généralement un sentiment généralisé de pure délire frôlant tantôt l'hilarant, tantôt l'angoisse de la redescente. Un chef-d'œuvre, tout simplement.

“You can smell it going in, clean and cold in your nose and throat then a rush of pure pleasure right through the brain lighting up those C connections. Your head shatters in white explosions. [...] This is a yen of the brain alone, a need without feeling and without body, earthbound ghost need, rancid ectoplasm swept out by an old junky coughing and spitting in the sick morning.”

3. la nausée (sartre, 1938)

Sachez-le : je déteste Sartre, Camus, et toute cette littérature brutale et aseptisée de la première moitié du XXe siècle. Et pourtant, j'ai trouvé dans La Nausée quelque chose de profondément poétique : l'errance existentielle du narrateur est intime et universelle, sa sensibilité est celle de l'artiste qui ne peut voir le monde sans se sentir immédiatement en retrait des autres et de sa propre existence. Il m'a été vendu (par ma très chère Emma) comme « le À Rebours du XXe siècle » et quelle ne fut ma surprise quand je me suis rendue compte que je préférais à un livre du XIXe siècle son petit frère vingtièmiste ...! J'ai particulièrement aimé un passage très distinct, celui où l'interlocutrice du narrateur évoque sa recherche frénétique du moment parfait... qu'elle finit par abandonner lorsqu'elle se rend compte que la vie réelle ne s'élève jamais à hauteur de notre imagination. C'est toujours cette brutalité assez rabat-joie des vingtièmistes mais avec une compassion et une tristesse qui donnent à ce roman son caractère si particulier.

« Et moi aussi j’ai voulu être. Je n’ai même voulu que cela ; voilà le fin mot de ma vie : au fond de toutes ces tentatives qui semblaient sans liens, je retrouve le même désir : chasser l’existence hors de moi, vider les instants de leur graisse, les tordre, les assécher, me purifier, me durcir, pour rendre enfin le son net et précis d’une note de saxophone. Ça pourrait même faire un apologue : il y avait un pauvre type qui s’était trompé de monde. »

4. le roman inachevé (aragon, 1956)

Un peu de poésie pour varier les plaisirs : j'ai lu cet été Le Roman inachevé d'Aragon (qui est bel et bien un recueil de poèmes) et je l'ai énormément aimé. Ce ne sont pas les poèmes dans lesquels Aragon joue inlassablement des répétitions et des sons (Dieu sait que j'aime beaucoup moins cette partie-là de son œuvre poétique) mais ce sont des poèmes d'une beauté souvent hors-monde, où l'amour et la poésie ne cessent d'être célébrés — il m'a rappelé quelquefois la poésie de Genet dans Le Condamné à mort et autres poèmes, un de mes livres favoris lus en 2020 et un de mes livres favoris tout court.

5. les nuits blanches (dostoïevski, 1848)

Dostoïevski étant un de mes auteurs chéris, c'est sans surprise que j'élève une fois de plus un de ses livres au rang de meilleure lecture de l'année. Les Nuits blanches est un court récit centré sur un rêveur, sa rencontre avec une femme, leurs conversations, leurs promenades, ses pensées obsessives pour ces dernières et puis, toujours, en arrière-fond, ce doute : ne serait-il pas en train de rêver ? Ce personnage, c'est celui qui tend à préférer les rêves à la vie, qui se perd avec délectation et une tristesse sourde dans ses mondes inventés, lové dans un confort jamais tangible. Dostoïevski, avec son acuité incroyable lorsqu'il s'agit de créer des caractères, fait ici le portrait-type du lecteur, dans une prose toujours aussi merveilleuse.

« La nuit est tombée dans sa chambre ; son cœur est vide et triste ; tout un royaume de rêveries est en train de s’effondrer autour de lui, s’effondrer sans trace, sans bruit et sans fracas, vient de passer comme une image de songe, et lui, il ne se souvient pas lui-même de quoi il a rêvé. Mais une sorte de sensation obscure, qui fait gémir et trouble sa poitrine, une sorte de désir nouveau attire, chatouille, excite sa fantaisie et convoque imperceptiblement tout un essaim de fantômes nouveaux. »

6. risibles amours (kundera, 1969)

Sur ce recueil de nouvelles non plus je ne m'attarderai pas, puisque j'ai déjà développé ce que j'en pensais dans une vidéo (de 17 minutes, qui plus est) — je vous dirai seulement que je l'ai dévoré et que j'ai été happée par toutes ces histoires d'amours naissantes, finissantes, interrompues en cours de route ou changées à jamais par des fictions personnelles.

youtube

Mentions spéciales

En poésie : les recueils Trois rencontres de Vladimir Soloviev, Requiem d'Anna Akhmatova et Ariel (The Restored Edition) de Sylvia Plath.

Au théâtre : le fameux Cyrano de Bergerac d'Edmond Rostand.

Pour les romans, nouvelles et entre-deux fictionnels : À Rebours de Huysmans, Behind a Mask de Louisa May Alcott, Le Journal d'un fou de Nikolaï Gogol et Les Diaboliques de Barbey d'Aurevilly.

Enfin, un essai (et non des moindres) à la fois politique et autobiographique : Le Consentement de Vanessa Springora.

#chronique #litterature

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adobongsiopao · 6 months

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Jane Eyre: The Multiverse of Madness Adaptations

Actors and actresses of Jane and Mr. Rochester from selected and well-known TV and movie adaptations of "Jane Eyre".

Joan Fontaine and Orson Welles (1943 movie)

Daphne Slater and Stanley Baker (1956; BBC TV serial)

Ann Bell and Richard Leech (1963; BBC TV serial)

Susannah York and George C. Scott (1970 movie)

Sorcha Cusack and Michael Jayston (1973; BBC TV serial)

Zelah Clarke and Timothy Dalton (1983; BBC TV serial)

Charlotte Gainsbourg and William Hurt (1996 movie)

Samantha Morton and Ciaran Hinds (1997; ITV TV movie)

Ruth Wilson and Toby Stephens (2006; BBC miniseries)

Mia Wasikowska and Michael Fassbender (2011; movie)

Which any of these "Jane Eyre" adaptation versions is your favorite?

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screamscenepodcast · 3 years

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HAPPY HALLOWE’EN 2020: THE TOP TEN

And you thought we’d forgotten All Hallows’ Eve? For shame! Yes, it’s that time of year again - when you’re looking for only the best classic horror movies to make your blood run cold and entertain the ghosts moaning their way through your home! So here it is, our definitive list of the top ten best horror movies, for the period of 1895-1955. Here you’ll learn which films make the top ten, what their deal is, and where to find them online. We hope you find this list helpful with your evening’s entertainment. Safe scares, Creatures of the Night!

#10. The Invisible Man (1933)

Mark Hamill said it himself - his much acclaimed interpretation of the Joker comes from Claude Rains’ performance as the tragically insane Griffin in this adaptation of the HG Wells novel. The movie shows off James Whale’s great skill at mixing humour and horror, even if some of the British-isms get a bit broad at times, but the true power of The Invisible Man is how it’s gotten more relevant with time - in 2020, the idea that anonymity might lead to immorality is no longer a hypothetical notion. Find it for rent in HD at $4.99 on Apple iTunes, Google Play Movies, Cineplex, Microsoft Store, and YouTube. 1h 11min.

#9. The Black Cat (1934)

What do you even say about a movie like Edgar G. Ulmer’s The Black Cat? A metaphor for Austrian/Hungarian relations after World War I, a dip into the world of Satanic cults, a revenge story with elements as unsavoury as Oldboy, and a chance to see Karloff and Lugosi really go at it as adversaries on roughly equal footing at a time when both men’s careers were on about the same level. This movie will draw you in with its gorgeous cinematography, hypnotic editing, and modernist set design to such an extent that by the time it’s over, you’ll hardly notice that the story didn’t seem to entirely make sense… This underappreciated classic is waiting for you to rent in HD on Google Play and YouTube for $4.99. 1h 6min.

#8. Island of Lost Souls (1932)

Watching this movie is like willingly stepping into a nightmare. The HG Wells’ novel might have somehow wanted to portray Dr Moreau “sympathetically” (Victorians, amirite?) but this adaptation understands he’s an utter monster and Charles Laughton delivers a bravura performance that underscores the character’s pure insanity. Combine this with the film’s dark and gritty look, the subtle make-up design of the hybrids (including a heavily obscured Bela Lugosi), and the unforgettable chant of The Law, and you have a film that will burn itself into your memory. Unfortunately, Island of Lost Souls has no current streaming options available, but you can find it on Blu-Ray from the Criterion Collection. 1h 11min.

#7. Körkarlen (1921)

The Phantom Carriage is a haunting exploration of the horrors of alcoholism, domestic abuse, poverty, and tuberculosis as well as a critique of Christian naivete while simultaneously an encouragement of spiritual moral values. It has the tone and pace of a dirge, as it seeks to imprint its message on your very soul. All wrapped up in a chilling story of New Year’s Eve and the spectre of Death! The Phantom Carriage is available to stream in HD on The Criterion Channel, and to rent in HD for $5.49 on Pantaflix. 1h 30min.

#6. I Walked With a Zombie (1943)

The second Val Lewton produced film on the list, I Walked With a Zombie is perhaps best described as Jane Eyre in the Caribbean, but what is surprising is that the film is also a well researched depiction of Voodoo practices for 1943. The haunting imagery, sparse sound design, and dreamlike poeticism of this film might make it among the most unique zombie movies you’ve ever seen, made in a time with zombies were supernatural undead slaves, instead of reanimated undead cannibals. Do yourself a favour and check it out - it’s available to buy online in SD for $9.99 from Apple iTunes, and $14.99 on Google Play Movies and YouTube. 1h 8 min.

#5. The Old Dark House (1932)

James Whale’s definitive take on this traditional mystery thriller formula is a movie that will have you laughing right until the moment it has you screaming. In some ways, it’s a movie of clichés, with the protagonists seeking shelter in an old mansion during a rainstorm in the night and having to deal with the reclusive family they find within. But the dark, brooding cinematography, and truly shocking twists that rivet up the intensity over the running time, all contribute to make this a harrowing watch. It’s one part Rocky Horror Picture Show, one part The Addams Family, and one part The Texas Chain Saw Massacre. I’m not kidding. The Old Dark House is currently streaming in HD on Flix Fling. 1h 10min.

#4. The Spiral Staircase (1946)

This RKO classic is another great take on the old dark house subgenre, from noir director Robert Siodmak. A masterpiece of suspense, featuring wonderful production design and dynamite performances from its cast, this movie will draw you in to the world of a mute servant named Helen trapped in a dark manor on a stormy night with a whole cast of lunatics! A forerunner of giallo (no, really!), this classic and classy thriller is not to be missed! The Spiral Staircase is currently streaming in HD on Flix Fling. 1h 23min.

#3. Gojira (1954)

Ishiro Honda’s classic giant monster movie, the progenitor of all kaiju and tokusatsu movies to come, is a masterpiece of ingenuity and imagination. But more than that, it’s a powerful statement about the horrors of nuclear war, an angry and relentless funeral dirge mourning for the Japanese lives lost and raging against the American foreign policy that continued to poison Japan with radiation even after the war. Godzilla is an apocalypse personified, the great revenge of the natural world against the hubris of man that has harmed it. But Gojira is also a film about the immense weight of personal and scientific responsibility weighed against the greater good, and its position on the use of weapons of mass destruction is perhaps more nuanced than you’d expect. Don’t let the campy reputation of Godzilla in the West fool you. Clear your mind of that and sit down to watch this powerful black & white epic. Gojira is streaming in HD on the Criterion Channel, and can be rented in HD for $4.99 on Apple iTunes. 1h 38 min. The American adaptation Godzilla, King of the Monsters! (1956) is also worth a watch, and is available from the same sources.1h 20 min.

#2. Cat People (1942)

Cat People is brilliant. The first of Val Lewton’s horror movies for RKO, it best exemplifies his shadow drenched, suggestive, adult, contemporary, and ambiguous brand of horror. Irena is convinced that if she experiences sexual excitement, she will turn into a black panther and kill the man she loves. Her husband is convinced it’s all in her head. What is the truth? Cat People gives the viewer plenty to chew on while being the first horror movie to understand that less is more, that the monster is scarier if you can’t see it, and also how to pull off a jump scare. You can find this absolute classic to stream in HD on The Criterion Channel, and to purchase in HD for $9.99 on Apple iTunes and $14.99 on Google Play Movies and YouTube. 1h 10min.

#1. Dr. Jekyll and Mr. Hyde (1931)

FOUR! YEARS! IN A ROW! Early on in the first Hollywood horror craze, Paramount Pictures managed to outdo their main competitor Universal with this masterpiece from director Rouben Mamoulian. With a use of sound, visuals, effects, script, and performance far beyond what most films were doing at the time, this adaptation reigns supreme among other versions of the same story. Fredric March utterly inhabits the dual title role, but it’s Miriam Hopkins’ performance that will stick with you in this superb examination of domestic abuse, alcoholism, and the beast that dwells within us. Currently for rent in SD on Apple iTunes, Google Play Movies, Microsoft Store, and YouTube for $4.99. 1h 38min. Well there you have it, Creatures of the Night! Will Dr. Jekyll & Mr. Hyde ever be knocked from it’s perch at the top? Keep tuning in to Scream Scene each week on Wednesday to find out! Until then, Happy Hallowe’en!

#scream scene podcast #top ten #halloween #recommendations #2020 #classic horror #horror films #where to watch #the invisible man #the black cat #island of lost souls #the phantom carriage #i walked with a zombie #the old dark house #the spiral staircase #gojira #godzilla #cat people #dr jekyll and mr hyde

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papermoonloveslucy · 3 years

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ORSON WELLES ALMANAC

May 3, 1944

“Orson Welles Almanac” aka “The Orson Welles Wonder Show” (1944) is a CBS Radio series directed and hosted by Orson Welles. Broadcast live in California and Arizona via CBS West Coast studios, the 30-minute program was heard Wednesdays at 9:30pm beginning January 26, 1944. Its last broadcast was July 19, 1944. Orson Welles Almanac presented readings from classic works, drama, music, sketch comedy, magic, mindreading, and personal commentary by Welles. Many of the shows originated from US Army camps where Welles entertained the troops. Welles had an ongoing battle with the program’s sponsor, Mobil Oil, which shortened the life of the series. Twenty six broadcasts were produced; all but four shows have survived.

This is the 15th episode of the series, aired on May 3, 1944. Previous guests were Groucho Marx, Lionel Barrymore, Ann Sothern, Robert Benchley, Hedda Hopper, and Victor Moore. Lucille Ball previously guest-starred on the series on March 3, 1944.

CAST

Lucille Ball (Guest Star) was then filming Ziegfeld Follies for release in 1945. Her films Best Foot Forward and Thousands Cheer (both released in 1943) were still in local cinemas. Ball was in her fourth year of a rocky marriage to Desi Arnaz, who she would divorce in September 1944, although the papers were never officially filed. Two days earlier, she had be heard in “A Night To Remember” for radio’s “Screen Guild Players.”

Orson Welles (aka ‘Wonder Boy’) arrived in Hollywood in 1939 when Ball was a contract player at RKO Studios. To squelch rumors that he was a homosexual, the studio sent Lucy to escort him to a premiere to be photographed. He later recalled,

“We went to see the opening of some movie or other—I simply picked her up at her house and we went to the movie and got photographed and came home and I said ‘Good night,’ and that was the end of that. That was the end of that romance, but it was the beginning of a long friendship.”

A veteran of the theatre, in 1941 the actor / director completed his magnum opus film Citizen Kane. In the 1950s he was under contract to Desilu to film a pilot for an anthology series called “The Fountain of Youth,” which wasn’t aired until 1958 and did not result in a series. Despite that, it won a Peabody Award, the only pilot to ever do so.

On February 5, 1956 Lucy and Desi appeared with Welles on Ed Sullivan’s “Toast of the Town.” They were there to promote their film Forever Darling. Welles was there to promote his revival of his King Lear at New York’s City Center, which he initially performed in a wheelchair due to injuries to both ankles. By the time he performed it on “Toast of the Town” (aka “The Ed Sullivan Show”) Welles was using a crutch.

When the Oscar-winning actor and director was down on his luck he was invited to stay in the Arnaz guest cottage. Notorious for his drinking and rude behavior, Lucy had to find a way to politely get rid of her guest so she decided to have an episode of “I Love Lucy” written for him so she could pay him a salary. With that in mind, Desilu paid him the exorbitant sum of $15,000! Ball’s memories of Welles were mixed. “I had a real love-hate relationship with Orson,” she said towards the end of her life. “His mind was awesome…but he was also a pain in the ass.”

At the time of this broadcast (March 8, 1944) Welles’ film Jane Eyre was playing in cinemas.

Aurora Miranda (Musical Guest) was a Brazilian singer and actress. She began her career at the age of 18 in 1933. Miranda appeared in several films, including The Three Caballeros, where she danced with Donald Duck and José Carioca, singing the song, "Os Quindins de Yayá". Her sisters were Carmen Miranda and Cecilia Miranda.

The All-Star Jazz Group: Mutt Carey (trumpet), Kid Ory (trombone), Barney Bigard (clarinet), Buster Wilson (piano), Bud Scott (guitar), Ed Garland (bass), and Zutty Singleton (drums).

John McIntire (Announcer)

EPISODE

This episode was broadcast from the Naval Air Station at Terminal Island, San Pedro, California, at the time, the fastest ship-building station in the world.

ORSON: “All the way out I had to sit on Lucille Ball’s lap!”

The sailors in the audience respond very vocally to Lucille.

Orson and Ball enact a scenario depicting Lucille Ball pulling over to pick up a prudish sailor who is hitchhiking. The sailor says he’s headed to the Museum of Natural History, and maybe the Aquarium. They drive off, the sailor uncharacteristically staving off Lucille’s advances. He admires her car - a 1941 Cadillac.

ORSON: “You get much pick-up?” LUCILLE: “You’re the third today!”

She takes him on a ‘short-cut’ and they run out of gas. She wants to stay and cuddle...but he is afraid. Afraid that the museum will be closed!

Welles introduces Aurora Miranda to Lucille Ball. He has to ‘translate’ her heavy accent. She sings "No Tabuleiro da Baiana", with Welles joining her briefly in duet.

Lucille asks Orson if she can do a love scene with one of the sailors. He recruits someone from the audience - George. Although he claims no acting experience, he knows he can kiss! Orson sets the scene: a boy comes home from college to meet his sweetheart for the first time in a long while. Orson acts as a director.

ORSON: “Woah! Slow down! What’s the rush?” GEORGE: “I’m expecting a transfer any minute.”

Although the scene calls for hand-holding the sailor puts his arm around her. Lucy senses that Orson is deliberately intervening to prevent him from kissing her, but finally he does.

ORSON: “Cut! That’s it! This isn’t commando tactics! She’s an actress, not an obstacle course!”

Orson introduces the All-Star Jazz Band playing “Savoy Blues.” The piece was first recorded by Louis Armstrong in 1927 and was composed by Kid Ory, who plays trombone here.

Orson Welles reads the honor speech from Shakespeare’s Henry V on the subject of honor.

In 1965, Welles made a film called Chimes at Midnight (aka Falstaff) which incorporated monologues from several of Shakespeare’s “Henry” plays, including Henry V.

#Orson Welles #Lucille Ball #Shakespeare #Aurora Miranda #Orson Welles Almanac #1944 #Terminal Island #Falstaff #Henry V #Savoy Blues #Kid Ory #All-Star Jazz Group #Jane Eyre #I Love Lucy #Radio

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eyreguide · 4 years

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Reviews of Jane Eyre Adaptations

An overview of my thoughts on all the film and television adaptations I have seen.

Jane Eyre 1934 Virginia Bruce And Colin Clive

This is the first talkie version of “Jane Eyre” and I think has the rather unfortunate timing to have come out during the Great Depression. For that is the only reason I can think of for making the story so cheery and sweet. Gone are moral ambiguities and dilemmas. Adele is Rochester’s niece, and Rochester is in the process of divorcing his mild-mannered and slightly mad first wife. Even Mr. Rochester is charming and affable (and quite obviously in love with Jane from the start); you don’t have to work hard to like him.

Jane herself is quite spunky and has no trouble expressing anything she is feeling. I find it funny how she calls out Mr. Rochester on everything. No wonder he is pretty straightforward with her. And Jane is acknowledged to be young and pretty in the movie- interesting since so many adaptations in later years get beautiful actresses to play Jane and then pretend they are plain.

I think because this version lightens the story so much, one can’t take it too seriously as an adaptation of “Jane Eyre”.

1943 Jane Eyre Joan Fontaine And Orson Welles

There’s a much better attempt to adapt the actual novel in this version (as compared to the 1934 film version) which makes for an interesting transition from light to dark. The 1934 film being a little too happy and this version being a little too dark. Orson Welles plays the role of Rochester with such an intensity that makes him a little intimidating. No wonder Joan Fontaine’s Jane looks like a deer caught in headlights most of the time.

The script has some interesting changes to the story that perpetuates through several movie adaptations to follow. Helen Burns has her hair cut at Lowood instead of Julia Severn in the novel, and Jane heroically demands to have her hair cut as well. Jane is more directly the cause of Mr. Rochester falling off his horse as he looms up on her and she is unfortunately in the way instead of standing quietly by the side of the road. Jane also feels she has to defend Adele and asks Rochester to treat her more kindly- something Jane never does in the novel.

Other interesting innovations to the story include a St. John Rivers who is the Doctor for Lowood, and who provides Jane with lessons of morality instead of Helen Burns. Overall, this film is fantastically moody and quite romantic, and a very good film if you aren’t too concerned about fidelity to the novel.

1949 Jane Eyre Mary Sinclair And Charlton Heston

Studio One produced this hour long episode and it was apparently filmed live, so they had one big set for the whole program. Consequently the script centers on the Thornfield section, although it does show Jane leaving Lowood. The house party consisted of just Blanche (with Jane having to play piano for their amusement!)

Mary Sinclair as Jane does not bring much to the role. She says her lines and acts smitten as needed. Charlton Heston is an aggressive and overly masculine Rochester, and he doesn’t really capture the character very well either. It doesn’t help that he tended to over do the emotion somewhat.

The story is very chopped up, obviously, and everything moves very quickly. There really isn’t much to recommend this, unless you are a big fan of the novel, and you like old movies.

1952 Jane Eyre Katharine Bard And Kevin McCarthy

This episode was also produced by Studio One and is very similar in script and features a similar set. They seemed to have a little more money in the budget though because the staging and sets were a little better. And Mr. Rochester was able to have a larger house party, that reflected the book more.

Katharine Bard was also not very memorable as Jane. She said her lines and was just there. Kevin McCarthy had this interesting nicer vibe to him. He seemed more friendly and sweet, while also being demanding sometimes. It’s still not a great characterization though.

Again, I would not really recommend this version unless you are set on watching all adaptations (and that’s a great idea!)

1956 Jane Eyre Daphne Slater And Stanley Baker

This early six-part British miniseries is available to watch only at the BFI in London. I was pleasantly surprised by how well this version adapted the story. Slater and Baker’s interpretation of the characters is wonderful and the dialogue/script follows the general plot of the novel very well. It does veer off from the actual dialogue of the book, but in this case, I liked the changes. It captured the gist of the scenes and the character’s emotions. The only really odd moments came from some of the more emotional scenes which would have been better with Charlotte’s words.

The childhood part of the story features the actress playing adult Jane, also playing Jane as a child, which is a little jarring, but it actually worked rather well. Slater was good at capturing the essence of a child. Young Jane in this version is also much more outspoken and Helen Burns feels more like an equal to Jane - much less overly religious and self-sacrificing. It made for a different dynamic but I enjoyed how it showed Jane and Helen’s close relationship

Unfortunately feisty, young Jane becomes much more muted and easily frightened as adult Jane. Slater’s Jane is still good though, despirt her timidity and is able to hold her own against Baker’s Rochester. Baker makes an imposing, brusque and rough Rochester, but he brought some nuance and emotional depth to the character. The miniseries also does justice to St. John Rivers and shows him as very formidalbe and controlling - perhaps the most cold and disturbing I have ever seen St. John portrayed. He attempts to read a letter that Jane receives without her knowledge, and also lies to Jane that Rochester has already moved on from her.

This was a wonderful version with many scenes and moments that I did not expect to be included in so early an adaptation.

1957 Jane Eyre Joan Elam And Patrick MacNee

This adaptation is much fun. It’s just… so weird. The interpretation of the novel is so bad, it’s like the writer was making fun of “Jane Eyre.” Jane is preachy and spiritual to the extreme. She doesn’t have a care for herself but just wants to help Mr. Rochester in any way she can. Which Mr. Rochester must be glad of since she excuses his lecherous advances on her because he drinks (alot apparently) and because he has had a troubled past. But after Rochester has tried to take advantage of Jane, he does fall in love with her and it’s cute how much attention he pays to her during his house party. Which gives Blanche a chance to be ridiculously catty.

Mason also gets interesting things to do in this adaptation. He doesn’t get quietly stabbed and bitten on the third floor- no he crashes down some stairs during the house party, bleeding and terrified. A supremely Gothic moment. And when Jane agrees to marry Rochester, Mason sort of slides into view and is all ‘I don’t think so.’ Mason has some attitude. The script for the adaptation is just over the top- down to little Adele scrabbling in the ashes for a toy when Jane finds her in the end after (a really quick) fire.

For an “interesting” way of looking at the story of “Jane Eyre”, this adaptation scores high marks.

1957 Jane Eyre (Italian) Ilaria Occhini And Raf Vallone

This adaptation is in Italian, and the copy I have has no subtitles, so I’m reviewing this with only the acting and the gist of the scenes to go by.

This is a 5 part adaptation (oddly each episode is not quite the same length) and it begins with Jane meeting Mr. Rochester by felling his horse. From there, Jane’s childhood is told through some flashbacks. Some of the more interesting adaptation choices this version makes is to have Jane much older when she finally leaves the Reeds house. And a new sort of character is introduced - by the name of Jack Lloyd. He seems to be a combination of John Reed and St. John, in that he is Jane’s cousin on the Reed’s side (maybe?) and is in love with Jane from the beginning. While the first episode mostly deals with Jane’s childhood, we still get scenes in the next three episodes to what the Reeds are doing and especially Jack Lloyd. Jack also turns up at Thornfield to take Jane away to visit sick Mrs. Reed. I was very entertained by what seemed to be Mr. Rochester’s jealousy over Jack! Another interesting thing about this script is that Mr. Rochester hires a gypsy and listens in on the readings she gives (just like in the 2006 miniseries). And then, he comes out to comfort Jane because she has become distressed.

The feel of this adaptation is very dramatic, there is an emphasis on Gothic elements (forbidden rooms, screams, portentous secretive glances) and the audience sees things from Bertha’s point of view a couple times, as she wanders Thornfield’s halls. Jane and Rochester are smitten with each other very quickly. I found it funny how often they stare at each other as if there was no one else in the room. (Sometimes there was.) Jane can seem a bit moony, and Mr. Rochester has a few mood swings. He can seem really nice one minute and then suddenly speak very sharply. This adaptation is a bit slow, and takes some interesting liberties with the story, but I found it very entertaining and romantic. And Mr. Rochester regains his sight in a dramatic moment in the end during the wedding. A nice dramatic wrap-up.

1961 Jane Eyre Sally Ann Howes And Zachary Scott

This one-hour television production for “Family Classics” was introduced by Joan Fontaine which was a nice surprise. Opening credits start with Grace Poole getting herself some alcohol. Mr. Rochester’s entrance is not quite as dramatic- he is sitting in a chair in the darkened library when Jane goes down to get a book and he startles her when he speaks. I actually really liked this adaptation. Sally Ann Howes was again serviceable as Jane, nothing special in her interpretation. Zachary Scott as Rochester brought something different to the role as compared to the previous American hour-long television productions. His Rochester was more aristocratic in ways, he sometimes- and very vaguely!- put me in mind of Dracula. Not that he was vampiric, just in the way he carried himself. And maybe because he was dark and thin.

The script manages to include a “Rivers” section where Jane actually gets a proposal from St. John- something that hasn’t happened in the previous film adaptations I have seen. And St. John is rather egregious and plump- not very like the Apollo of the book. And if I’m not mistaken, this is also the first time they flash back to Thornfield burning down while Jane is away- breaking up the Rivers section with a scene with Rochester.

If I had to pick the best of the American hour-long productions, I would pick this one. Which is viewable free at the Paley Center in Los Angeles and New York.

1970 Jane Eyre Susannah York And George C. Scott

I feel that this version is the first to approach the story of “Jane Eyre” as it is, rather than as a dramatic rendering. It’s somber and dreamy and pretty straightforward in portraying the scenes. Not that the characterizations are all correct. Susannah York’s Jane is mature- reflective of the actress’s age undoubtedly, and George C. Scott is curiously cold and dry most of the time. St. John Rivers is surprisingly passionate and eager to marry Jane even though he still doesn’t love her.

The production benefits from location shooting (first version to shoot on the moors?), and wonderful music which goes a long way to filling in the passion and romance that is lacking in the actors. Much attention is paid to the character of Helen Burns here which is a plus- the audience really gets to see how Helen helped Jane to grow. The script in itself is okay, until the blundering line of Rochester’s “But I loved her once, as I love you now.” when Rochester has shown Bertha to Jane and the wedding party. I find that line basically undermines Rochester’s love for Jane. It is important to understand that Rochester did not love Bertha at all so then Rochester doesn’t seem so much like a jerk.

Well. This version has some issues, but to see it after the previous versions, it is a breath of fresh air because it comes closer to recreating the novel proper.

1972 Jane Eyre (Czech) Marta Vancurova And Jan Kačer

I have not re-watched this version in a long time, so this review is very brief:

A friend was able to find this rather obscure adaptation made in 1972 Czechoslovakia. The copy she found is in Czech with no subtitles, so I can’t understand a word of it. However, I will comment on the overall tone that I received from the four hour adaptation- melancholy and artsy (perhaps reflective of a low budget). Not as much passion to certain scenes as one would expect, but I did enjoy this adaptation and they did a good job with condensing the material. Except for the Lowood portion of the story, which they cut out.

1973 Jane Eyre Sorcha Cusack And Michael Jayston

This is the best version of Jane Eyre to date. I wouldn’t say there was an overall tone for the miniseries- it comes off as a straightforward interpretation of the novel. Production values are lacking in that set design and blocking are less than inspired, but it does have great costumes and outdoor sets. There are really just two reasons why this is the best version in my opinion. Script and characterization. The script uses much of the novel’s dialogue (finally!!), and sometimes brings out interesting elements of humor that one might not have noticed before. And I feel like Jane Eyre has many funny moments or comments that are mostly overlooked in other adaptations. And in condensing the material they kept so much of the story intact it’s surprising. I am only disappointed by how they shortened the Gypsy scene by having Jane discover Rochester too quickly. But every other important scene is done beautifully.

As for the actors, I am only disappointed in Juliet Whaley’s Young Jane, whose acting is stilted sometimes, but she was young. Sorcha Cusack portrays a nice blend of shyness and independence and Michael Jayston is superb as Rochester. His performance is nuanced and mesmerizing. Stephanie Beacham is probably the best Blanche I have ever seen as well- she comes off as snobbish and selfish but I can see how she might be captivating and charming to men.

There is not much else I can say about this, my favorite adaptation. I think every one who is a fan of the novel should see this version.

1983 Jane Eyre Zelah Clarke And Timothy Dalton

Another mini-series adaptation, this version had a bigger budget it seems than the 1973 version. Set design and lighting are improved, and the show even got it’s own theme! The show was also 30 minutes long per episode which gave a different, more leisurely pace to the scenes. It seems like they wanted to make sure each episode ended on a little cliff-hanger. But with the pace slower, it sometimes felt like the actors were speaking too slow. There were long (introspective?) pauses and they even broke up scenes with time lapses and set changes. The proposal scene for instance starts in the library and Jane runs out to be alone in the garden.

As an adaptation of the novel, this is the second best film version because it has so much time to give to telling the story. Zelah Clarke as Jane is a little monotone sometimes, but she does a good job showing Jane’s spirited side. Timothy Dalton’s Rochester is imperious and masterly, and very charming. The script has a proper charades scene and Rosamond Oliver makes her first appearance in this adaptation. They also show an older Eliza and Georgiana which is another first.

Overall, this version is very good and is only ranked behind Jane Eyre 1973 because of dialogue/script changes and characterization.

1996 Jane Eyre Charlotte Gainsboroug And William Hurt

This version takes a fresh look at the novel. The flow of the narrative is different- much faster in pace, so that some scenes happen quickly right after the other- giving time no doubt to show the more leisurely and melancholy scenes of Jane and Rochester alone. During Brocklehurt’s first visit to the Reeds, he immediately takes Jane away to Lowood, and there is a quick transition from Helen Burns dying to older Jane by her graveside then walking to take the coach to Thornfield. And as soon as Jane flees from Rochester and a bigamous marriage, Thornfield is on fire and the audience knows that Rochester has been injured before we know what has happened to Jane.

The overall tone of the movie emphasizes Jane and Rochester’s loneliness, which makes the film very poignant. Any “supernatural” elements to the story is minimized- Mr. Rochester does not loom up on Jane, but passes her by and then slips on ice (like in the book), and Bertha’s madness has a touch more realism and sympathy when she pushes Grace Poole to her death and then jumps after her. And again, Jane does not hear Mr. Rochester’s voice calling to her (though there is that one instance where maybe you could hear him whispering her name on the winds?) but instead she looks into her heart and knows she must go back and find out what happened to him. Even the Rivers aren’t her cousins, but just happened to be taking care of Mrs. Reed, and eventually of her effects.

This is a beautiful film- great sets, locations, vistas. The music is beautiful and haunting. Despite the truncated adaptation and the one-sided portrayal of Rochester, I really enjoyed this film. Especially for the pathos of Jane and Rochester’s romance.

1997 Jane Eyre Samantha Morton And Ciaran Hinds

Truthfully, I dislike this version. It makes me laugh though, because I don’t understand how they could have gotten so many things wrong. The script is awful, Ciaran Hinds is horrible as Rochester, and Samantha Morton is a little annoying. Though that is probably the script. So let’s start there. We have your average truncated adaptation which makes sense- they cut things that most shorter film adaptations cut, but the dialogue! It’s too modern and direct. Jane addresses Rochester in a way that is not in keeping with her sense of propriety. Of course Rochester doesn’t hold much with formal conversations with Jane in the book, but his conversation in this film has none of the poetic prose of the novel. It’s all very cliched and off-putting.

Since Grace Poole is made a much bigger mystery in this version than in previous ones- Jane’s eagerness to rehabilitate her make sense, but is an unnecessary addition to the plot. Especially as Jane keeps harping on what Grace Poole is doing. Ciaran Hinds as Rochester is shouty and brutish and especially distasteful after the failed wedding. He throws Jane’s luggage down to the first floor and drags her to the garden, blaming her for not loving him enough to be his mistress. The only time I liked Samantha and Ciaran’s chemistry was after the fire in Rochester’s bedroom, when he took her hand. After that it was too much panting and open-mouthed kissing. Yikes.

The only scene that was enjoyable was when Jane comes back from visiting Mrs. Reed (curious how they lead up to that scene, but did not show her with Mrs. Reed at all) and Mr. Rochester is happy/annoyed at seeing Jane walking into Thornfield. It was a cute scene. Other than that, I wouldn’t really recommend this if you wanted a romantic version.

2006 Jane Eyre Ruth Wilson And Toby Stephens

Another BBC mini-series of which I always expect alot. In some ways this adaptation delivered and in others it fell short. Production values were excellent of course. Ruth Wilson as Jane was a revelation. I’ve always thought it was hard to portray Jane’s inner emotions as detailed in the novel but Ruth manages to make her thoughts visible facially. Voiceovers were really not necessary. She’s just so good and so nuanced, well-rounded, I loved her portrayal of Jane. There are a couple of scenes in this version that have never been previously adapted. Namely the “carriage scene” when Rochester takes Jane to Millcote to buy dresses. The carriage scene dialogue with Adele in tow is so cute and playful and shows a wonderful side to all three characters. There is also the scene where Jane runs out in the rain to catch up to Mr. Rochester the night before their wedding. The dream sequence also makes it in- with Jane holding a baby while being kept away from Rochester. All scenes that I very much enjoyed watching.

Disappointingly, the script in general didn’t quite capture “Jane Eyre” in my opinion. The dialogue and changes to Mr. Rochester’s character specifically did not feel right. And of course there is THAT scene on the bed that really felt out of place for the story and for Jane’s principles. And why does Mr. Rochester hire a gypsy to trick Jane? It seems like there’s an attempt to minimize some theatrical elements (Rochester cross-dressing, the voice across the moors- now scientifically explained!) to maximize on other theatrical elements (dream sequences, Rochester’s bed on fire- which looked like a pyre, and the terrifying secret in the attic). There really doesn’t seem to be much point to emphasizing one and not the other.

Mr. Rochester often seemed a little immature, too boyish maybe, in his eagerness to collect dead insects maybe? I never really felt that Toby Stephens captured Mr. Rochester’s sophistication. The efforts to increase the sexual tension did not improve my opinion of Rochester, because Rochester getting Jane into bed was just a low blow. For the most part, I’d watch this version for Ruth Wilson and some of the humor and playfulness they put into the story.

2011 Jane Eyre Mia Wasikowska And Michael Fassbender

This version is a complete and refreshing surprise. Judging from the trailer, I thought it would be melodramatic in the extreme with an emphasis on the darker Gothic elements, but nothing could be further from the truth. The set design, lighting, and camera choices could be seen as dark, but they are also realistic to the times and what seems to be the vision of the director, Cary Fukunaga. Which appears to be to present the story of Jane as she lived it, completely tuned in to her thoughts and feelings. A very refreshing idea. Many versions have added or filmed sequences of the story in which Jane did not participate- for example, Thornfield burning down or scenes between Blanche and Rochester, but the story stays with Jane practically the whole way through, with camera angles highlighting that the audience is experiencing everything through Jane. This really changed the experience of viewing the movie- it felt real and not like a spectacle.

The script helps alot in this, it condenses the story but stays true to every part of it. Even with the narrative structure changed, it still hit all the important scenes, and stayed true to even the lesser characters in the story. It is surprising what scenes are not included in the movie- for instance the tearing of the veil- so that the focus of the story is more on Jane and Rochester’s relationship but even with that the more Gothic elements are not completely marginalized. There is still a sense of things not being quite right.

Mia Wasikowska as Jane is excellent; strong and intelligent, and fantastic at conveying her inner emotions through body language. One of the many things I loved in this version are all the shots of Jane walking/pacing restlessly. Mia somehow conveys that there is “a vivid, restless, resolute captive” inside of her. Michael Fassbender is commanding and sardonic and tender and teasing, sometimes all at once and sometimes flipping between the emotions at will- quite amazing to watch. He can be so intense that you are a little afraid of him and then so pleading and desperate that your heart breaks for him.

The movie was understated and simple and more powerfully emotional because of it. Personally, this would be my second favorite adaptation after the 1973 mini-series. Despite the inevitable condensing of the story, and an ending that felt a bit abrupt, it was so refreshing to watch a version that did not overplay the story and kept the focus on Jane.

2013-14 The Autobiography of Jane Eyre Alysson Hall And Adam J. Wright

This web series has Jane, a 21 year old university student, working as a nanny for Mr. Rochester’s daughter Adele. She vlogs about her life, and through the videos we get to meet all the people in her life.

I was really impressed by how close they stuck to the novel - adapting scenes that are often disregarded in other adaptations (granted they have a lot more time with this series) but also to make some scenes from the book modern must have been a great challenge. And I was really mostly happy with how they managed to make everything fit in their world.

I do have some issues with this as an adaptation though. Sometimes I lose focus on what some episodes are trying to adapt from the novel - it doesn’t always flow well for me, and I had an issue with Jane taping people in the beginning without their consent. I mean she can accidentally leave the camera on, but she doesn’t have to post it. But the reason why that bothers me is because Jane is supposed to have better sense than that. She can be a bit naive, but she always knows what’s right and wrong. But then again, it is difficult to adapt this kind of story! The audience would want to see these people!

The actors were all really excellent in their parts. Jane of course was so endearing and quirky - definitely different from Jane in the book, but believably the modern version. Mr. Rochester had a wonderful sense of humor and it was evident from the beginning how much he cared about Jane. Their romance was so sweet and developed very well throughout the videos. The Rivers were also believable surprisingly - I mean especially when it came to the St. John character - now called Simon. St. John in the book would be very difficult to modernize I think - because he’s so zealous and religious, selfless but selfish. They made Simon a little bit too dorky and cute, but he was also stubborn and unsympathetic to others which fit. There were some changes made when it comes to Grace that made the story work very well, and a new character - Suzana - would often steal the show with her sassiness.

It is disappointing that towards the end they had to recast the actor who played Rochester which leads to a sort of rushed and incomplete ending. I think they did the best they could, but for a series that has done such a wonderful job bringing so much of Jane Eyre to life, it’s unfortunate they left out so much of the ending.

This adaptation had it’s ups and downs for me, but I always felt there was a lot of love for this book in every episode, and the writing and the story planning was often exceptional in adapting the book. I was always happy to get a new episode and it was such a great experience getting a little dose of Jane’s story every week.

2000 Jane Eyre the Musical Marla Schaffel And James Barbour

Okay, the musical. This is the Paul Gordon version. I’ve seen SO MANY comments bashing the musical by people who have never really listened to it just because it’s “Jane Eyre” with singing, and “Jane Eyre” shouldn’t be a musical (OMG!). I have to say I was never a fan of musicals before listening to this version. (Except for “The Sound of Music” which…is a little bit like “Jane Eyre” isn’t it?) At any rate, it took awhile for me to come to grips with all the singing, so I can understand where people may come from but I hope that at least some of the people who turn their backs on this musical might actually like it if they really listened to it.

I do love this musical. I think adding music to the already lyrical text heightens the emotion of the story and can very easily put you into the mindset of each of the characters. The ability of Paul Gordon to work in actual text from the novel into the lyrics is amazing as well (something I come to realize even more as I listen to other Jane Eyre muscials). In terms of condensing the story, all the major scenes are there for the most part, and without too many additions. I love that they even have Rochester as the Gypsy which is rarely done in Janian adaptations. The tone of the whole show is somber- in set design and music, but there are moments of humour- with Mrs. Fairfax most often bringing in the comic relief.

Marla Schaffel is marvelously grounded as Jane- her characterization is balanced between propriety and passion- something that is hard to do in a straight production, but when Jane can sing in privacy, it can all come out. :) James Barbour is commanding as Rochester (and not only because of his voice, which is a glorious baritone). His performance is more layered than many Rochesters I have seen, having a certain finesse or gracefulness while also being gruff and abrupt. The other characters are mostly spot on with the exception of Mrs. Fairfax (played by Mary Stout) who plays her good-natured but a bit doddering. And St. John Rivers is not quite the jerk he is in the novel. Though he still doesn’t love Jane when he asks her to marry him.

1952 Sangdil Madhubala And Dilip Kumar

I have not re-watched this version in a long time, so this review is very brief: An Indian film released in 1952. Whether or not this film is an adaptation of the novel is perhaps debatable. The setting is completely changed to India and there are changes to the story reflecting Indian culture. Yet, the basic story of Jane Eyre is there and many scenes are taken from the novel- notably the Gypsy scene (with Shakur impersonating a male astrologer) In my opinion this is a very enjoyable representation of the novel. Kamal is played with a strong moral sense, shyness and innocence. Shankar is admirably played with much angst and playfulness.

#Jane Eyre #Charlotte Bronte #Jane Eyre 1943 #Jane Eyre 1970 #Jane Eyre 1973 #Jane Eyre 1983 #Jane Eyre 1996 #Jane Eyre 1997 #Jane Eyre 2006 #Jane Eyre 2011 #Literary Adaptations

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myrna-nora · 3 years

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2020: Movies

January 1. Agatha and the Curse of Ishtar (TV) (2019) [UK] 2. Green Book (2018) [US] 3. The Silent Passenger (1935) [UK] 4. The Runaway Bus (1954) [UK] 5. Us (2019) [USA]

February 6. Little Women (2019) [US] 7. Where’d You Go, Bernadette (2019) [US] 8. Avatar (2009) [US] 9. Downton Abbey (2019) [UK | US] 10. Behind Locked Doors (1948) [US]

March 11. Frozen II (2019) [US] 12. Miss Fisher & the Crypt of Tears (2020) [Australia] April 13. One Man, Two Guvnors: National Theatre Live (2011) [UK] 14. Sleepers West (1941) [US] 15. Emma. (2020) [UK] 16. Jane Eyre: National Theatre Live (2015) [UK] 17. A Howling in the Woods (TV) (1971) [US] 18. Treasure Island: National Theatre Live (2015) [UK] 19. Twelfth Night : National Theatre Live (2017) [UK] May 20. Cry Panic (TV) (1974) [US] 21. Onward (2020) [US] 22. Frankenstein : National Theatre Live (2011) [UK] 23. So Long at the Fair (1950) [UK] 24. The Mating Season (1951) [US] June 25. Reflections of Murder (TV) (1974) [US] 26. Masoom (1983) [India : Hindi] 27. Knives Out (2019) [USA] 28. Guardians of the Galaxy Vol. 2 (2017) [USA] 29. Troop Zero (2019) [USA] July 30. Hamilton (2020) [USA] 31. Breaking the Bank (2014) [UK] 32. The List of Adrian Messenger (1963) [US] 33. Jojo Rabbit (2019) [New Zealand | Czech Republic | US] 34. A Bone to Pick: An Aurora Teagarden Mystery (TV) (2015) [Canada | US] 35. Real Murders: An Aurora Teagarden Mystery (TV) (2015) [Canada | US] 36. Life of Pi (2012) [US | UK | Canada | Australia | Taiwan] August 37. A Beautiful Day in the Neighborhood (2019) [US] 38. Three Bedrooms, One Corpse: An Aurora Teagarden Mystery (TV) (2016) [Canada | US] 39. The Julius House: An Aurora Teagarden Mystery (TV) (2016) [Canada] 40. Dead Over Heels: An Aurora Teagarden Mystery (TV) (2017) [Canada] 41. Last Christmas (2019) [UK] September 42. Pocketful of Miracles (1961) [US] 43. Lady for a Day (1933) [US] 44. Kaze tachinu (The Wind Rises) (2013) [Japan] October 45. Once Upon a Time... in Hollywood (2019) [US] 46. Judy (2019) [UK | France | US] 47. Hocus Pocus (1993) [US] 48. The Nightmare Before Christmas (1993) [US] 49. Jumanji: The Next Level (2019) [US] 50. Enola Holmes (2020) [UK] 51. Agatha and the Midnight Murders (2020) [UK] 52. Rebecca (2020) [UK] 53. The Night Stalker (1972) (TV) [US] 54. The Night Strangler (1973) (TV) [US] 55. Gisaengchung (Parasite) (2019) [South Korea] 56. The Invisible Man (2020) [US | Australia] 57. Dune (1984) [US] 58. Khamosh (1986) [India : Hindi] 59. Bees Saal Baad (1962) [India : Hindi] 60. Superman (1978) [US | UK] November 61. Tiger in the Smoke (1956) [UK] 62. Blackmail (1973) [India : Hindi] 63. How to Succeed in Business... (1967) [US] December 64. Misbehaviour (2020) [UK] 65. Fisherman's Friends (2019) [UK] 66. The Christmas Chronicles (2018) [US] 67. Black Christmas (1974) [Canada] 68. Come to the Stable (1949) [US] 69. The Russians Are Coming the Russians Are Coming (1966) [US] 70. Christmas on the Square (2020) [US]

#yearly list #movies

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grusinskayas · 3 years

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1929, 1937, 1943, 1956, 1996

1929

the love parade

the kiss

the single standard

1937

shall we dance

it's love i'm after

the firefly

1943

the only one i actually really like from this year is jane eyre. i also remember liking watch on the rhine, but i don't remember much of the film anymore.

1956

high society

the man who knew too much

anastasia (uuhhh mostly for ingrid, the film itself is kinda meh)

1996

matilda

the hunchback of notre dame

emma

thank youuuu for sending so many years :')

#norashelley #ask #ask game

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elcinelateleymickyandonie · 3 years