
Now perhaps it’s just the fact that I am a woman, or my own experiences in matters of the heart, or just the emotional state I was in when I watched this, but Mia’s performance hit every note and key of my heart. She was electrifying, utterly believable, and completely convincing. Until this performance I had never fully grasped what the conditions and circumstances penned by Charlotte Bronte actually did the character, and that’s what Mia brought to it. Every time Rochester ignored her, or flirted with stupid, silly other women, or any time he would do something dangerously romantic she showed it in her voice and throughout her entire body from her eyes to her hands. It almost took my breath away to watch her in certain scenes because I was like, “Dear God, I know exactly what she’s feeling.” And it was almost awful to relive, but that, my friends, is the power of good acting. I know next Oscar season is miles away, but if people have any sense they won’t forget her then.


My favorite scene in any version of this story is Jane and Rochester’s “fireside talk” where they banter back and forth in wit and Spartan-like honesty. The dialogue is superb. These are two people who are simple and plain in looks but completely leveled in mind and spirit. Their differences and headstrong attitudes begin to fence in an elegant duel that has no winner, for both are equal. That is why Rochester loves Jane and in declaring his love for her calls her his equal. Even though Rochester has his issues, this part of their love story is enthralling to me. True love and romance is nothing if not two people, equal and alike in mind and spirit, finding their mate. So in this way, I find Charlotte Bronte a genius. She scripted a cranky and selfish rich man with a plain, young governess. The concept would seem boring on the surface, but she made their romance sensational with the power of mind and heart. Brilliance.
Roger Ebert said in his review of the film: "...voluptuous visuals and ambitious art direction,” and he’s right. I have watched more period pieces than I can count, and this one had a special presence I’ve never experienced before. Part of what made this version so spectacular is the production design. Mr. Rochester’s main “sitting room” with the long dining table, decorative piano, and chairs was stunning. The whole time I coveted everything and kept whispering “I want that! I want that!” The costumes kept to their simple, gothic roots but added an extra flair that made them stand out and be noticed. Even Jane’s wedding dress, which you would think is a bright and happy thing, felt cold and foreboding thanks to the design setting the perfect mood. To marry the production design perfectly, they had outstanding cinematography which bound the story and each intense scene in tight threads of art. Throw a dark and brooding score of woeful strings on top of all of this and you have one delicious film.
There wasn’t one facet that wasn’t wholly drenched in talent. Editing is such an art, but a lot of times it’s rare to see distinct styles of editing in this genre. I was so happy to find that both the script writer and the editor helped make this version unique and unforgettable by starting the story backward and telling 80% of it in flashback. The film is more than just another remake, it has strong legs to stand on its own. I am hoping to add both the Jane Eyre films I love to my collection of British double-takes in the not-too-distant future.