This is the fifteenth "film" I have watched in "My Letterboxd Season Challenge 2020-21", "A 33 week long challenge where the goal each week is to watch a previously unseen feature length film from a specified category." This is the 6th annual challenge, and my second time participating (last year can be found at "My Letterboxd Season Challenge 2019-20"). Week 15 is called "Miniseries Week".
As we move into our holiday hiatus, I wanted to try something a little different. Instead of focusing on specific holidays this year, I want you to use this week (and the weeks in between this and the return from break if need be) to tackle a miniseries. They're essentially just long movies anyway. These things can range in length, from the runtime of your average film to over a dozen hours depending on what you're looking for. So don't feel too daunted with this challenge, and enjoy the break!
It's part of every adaptation of a classic. The first thing everyone wants to know is, who plays the main characters? Indeed, that's how we keep them apart in our memories. I've seen at least three Jane Eyres, and while I could distinguish them by year (1943, 2006, 2011) or director (Robert Stevenson, Susanna White, Cary Joji Fukunaga), I remember them as the one with Joan Fontaine and Orson Welles, the one with Ruth Wilson and Toby Stephens, and the one with Mia Wasikowska and Michael Fassbender. The approach taken by the film makers matters, the use of the original text is crucial, but to some extent, this Jane Eyre, like the others, is about the casting as much as anything. And yes, there are other characters besides Jane and Rochester, but no one remembers the adaptations by the actresses who played Mrs. Fairfax (for the record, Edith Barrett, Lorraine Ashbourne, and Judi Dench).
Both Wilson and Stephens look the part in this BBC mini-series version. Jane Eyre shouldn't be too pretty, and here Ruth Wilson is presented as a plain woman (which is no reflection on Wilson, a lovely-looking woman who is made up so her looks match the character). Toby Stephens (son of Maggie Smith) is suitably brooding, and as with Wilson, he does a fine job in his part. It's Wilson's show, but Stephens keeps up throughout the four hours. Wilson's performance belies the fact that it was only her second on-screen role (the other being a supporting character in a television series).
The production gets most things right. The story is fairly faithful ... the early parts of the novel are offered in a rather hurried manner, but nothing crucial is missing. Screenwriter Sandy Welch, a mini-series veteran, earned an Emmy nomination for her work here. The film looks properly gorgeous, and while it's out of my field of expertise, the costumes were well-received.
My wife is the Jane Eyre super-fan in our house, and she proclaimed herself satisfied. This version rewards both those who have memorized the novel and those who have never read it.