September 28, 2011
I read the book several years ago, and knew I had to see the movie when it came out. I’ve only seen Brad Pitt in Thelma & Louise and Ocean’s Eleven, so I know pretty much nothing at all about his acting ability. I just know I liked the book and was curious about the movie.
The movie was excellent. Just as we saw in The Blind Side, a book that’s very fact-oriented is turned into something that’s more people-oriented. Pitt was terrific as Billy Beane, the former “5-tool,” “can’t-miss” prospect who does miss. Josh Hill was very good as Peter Brand, a character who is based on current Mets Assistant GM Paul DePodesta. I don’t have as much sympathy for Art Howe as he might like, but I do agree that the film was not kind to him.
I’ve been a fan of Spooks (known in the US as MI-5) since I first saw series 1 on DVD. I was late to the party (no surprise!), but I quickly made up for lost time and became so addicted to it that I am having trouble accepting the fact that it will all be over on October 23rd.
Section heads come and go, but Harry Pearce has been a constant for 10 years now, and I will miss him dearly. I hope that he and Ruth manage to find some happiness together because they deserve it. But here is the trailer for the final season. I’m not sure I’m going to like all of what happens.
September 27, 2011
This week’s episode takes place in early 1917, so a couple of months have passed since the last one. Unfortunately, some conversations seem to be continuations from episode 1, which is a little odd.
Anyway, this week, Carson collapses while serving at table; he can’t accept the fact that all of the young men (except for Branson, of course) are in the Army and the maids have to serve dinner, just as they would at a chartered accountant’s house (great line!).
Mary is getting conflicting advice from her aunt, Lady Rosamund (marry Sir Richard for his money and power!), and from Carson (tell Matthew you love him!) and she’s really not sure what to do. She confides in Anna, but Anna still loves Bates, and we can see Mary thinking about love and Matthew.
Anna seems to have caught the eye of Mr. Molesley. He asks if they can spend time together, and she lets him down very gently. Hopefully, he’ll take no for an answer and not turn into a stalker.
Lady Rosamund overhears a rather heated discussion between Lavinia and Sir Richard — there is definitely some history there, and the trailer for next week leads me to believe that we just may learn something about it.
Thomas is still a despicable human being. Yes, he shows compassion to Lt. Courtenay, and he seems to be thisclose to telling the Lieutenant that he’s “different,” but he just can’t do it. Other than that brief moment of weakness, he’s still just awful. He is almost pleased with himself when he shows O’Brien his hand.
And, speaking of O’Brien (who enlisted Cora in her campaign to get Thomas back at Downton), she seems to have a soft spot for Lang, Robert’s new valet, who was invalided out of the Army due to shell shock. I can almost hear Thomas making fun of Lang and O’Brien.
Anyway, it’s still as soapy as it can be, and I am still looking forward to next week’s episode.
September 26, 2011
JE97 stars Ciarán Hinds as Rochester and Samantha Morton as Jane. It also features Gemma Jones as Mrs. Fairfax, Rupert Penry-Jones as St John Rivers and Elizabeth Garvie as Diana Rivers. It is a made-for-TV movie that is only 108 minutes long, meaning it is shorter than JE96 (112 minutes) which was a feature film. I saw it when it first aired on US television, and rather liked it, but couldn’t get rid of the nagging feeling that something was missing. So I re-read the book for the first time in ages, and realized just how much of the original story was indeed missing.
This adaptation has the unique distinction of starring one of my favorite actors and one of my least favorite actors. It’s no secret that I am a big fan of Ciarán Hinds and his work. On the other hand, however, I am absolutely not a fan of Samantha Morton. I disliked her as Sophie Western in Tom Jones and I disliked her as Harriet Smith in the Beckinsale Emma. I’ve also seen her in a couple of smaller roles, and I wasn’t impressed with her in those, either. This was the first time I’d seen the movie in more than 10 years, so I could definitely go into this with an open mind.
The film opens pretty much the same way that JE96 did, with Jane being thrown into the Red Room. Her visit lasts a little bit longer in this adaptation, but not much, because we meet Mr. Brocklehurst almost immediately afterwards. He is very, very loud. There is a lot of voice over in this version, but I can’t find much of it in the book which, to me at least, sort of defeats the purpose.
Lowood is appropriately bad, and they spend more time on the deaths from typhus than we have seen in the past. Helen does not have consumption in this version; she, too, dies of typhus. And, once again, her strong Christian faith has been watered down considerably.
Shortly afterwards, we see Jane preparing to leave Lowood and go to Thornfield. I like Gemma Jones in pretty much everything, and she’s quite good here as Mrs. Fairfax. Jane and Edward meet on a misty pathway — which is how I’ve always pictured their meeting but have very rarely seen it in the adaptations. Ciarán Hinds is not a conventionally handsome man to begin with, but I have to say that he actually looks better as Edward than he has in some of his other roles. Unfortunately, however, he yells. A lot.
Samantha Morton’s Jane is sufficiently plain, but she just isn’t Jane-like to me. She fluctuates between being too feisty and not feisty enough. When Edward tells her he’s going to marry Blanche, Jane tells him “I think you will be very happy.” I’ve scoured the book, and that line is simply not there.
To be honest, I never really see any chemistry between Edward and Jane. When the two of them are together, she hardly seems to look at him, and the kisses they share are very unappealing (not quite as guppy-like as we saw in P07, but still really ugly). Hinds’ Edward does have more charm and wit and charisma than other Edwards we’ve seen, but Morton’s Jane is essentially humorless (except for the made-up scene where Edward teases Jane about writing to Pilot). The writer butchered the “piece of string” speech to the point where it is no longer deeply moving. This is the only adaptation where Edward takes Jane shopping after their engagement, but for some reason they run into Blanche, who is just nasty to Jane.
The treatment of Bertha is far more sympathetic than we’ve seen in other adaptations. Edward holds her and kisses the top of her head in the scene where he’s brought Jane et al. to see her. Yes, I know that we treat the mentally ill with more compassion than we did back then, but this film takes place in the early 19th century, not in the late 20th.
As is the case in all of the shorter versions of the story, the ending is very, very rushed. The film is at least 90 minutes old before Jane leaves Thornfield. Rupert Penry-Jones is far and away the best-looking St John we’ve seen, and he’s actually age-appropriate, but he’s simply not cold enough. I don’t know if that’s the way the part was written, or how the director wanted him to play the part, or whatever, but he’s actually very sweet and very thoughtful. But Brontë’s St John is really not either. Elizabeth Garvie is a somewhat older than I’d always pictured Diana, but her role is even tinier than St John’s so I guess it doesn’t really matter. No, the Rivers siblings are not related to Jane, and there is no inheritance. Nor do we get to meet Rosamund.
The ending is abrupt. We see the Rochester family a few years later, complete with young children, and poof! it’s over.
All in all, I didn’t hate it. It’s better than JE96, but it’s still not as good as the other made-for-TV versions, including JE70, which is a very good example of doing more with less.
September 24, 2011
JE96 is a feature film directed by Franco Zeffirelli that stars William Hurt as Rochester and Charlotte Gainsbourg as Jane. It also features Amanda Root as Miss Temple, Fiona Shaw as Aunt Reed, Joan Plowright as Mrs. Fairfax, Anna Paquin as “Young Jane,” Elle Macpherson as Blanche Ingram, Samuel West as St. John Rivers, Maria Schneider as Bertha, and the man responsible for Downton Abbey, Julian Fellowes, as Colonel Dent.
For the most part, this cast is impressive. I said “for the most part” because a major reason I have never been able to bring myself to watch this movie is the fact that it stars William Hurt as Rochester. Hurt was fine in The Big Chill, Broadcast News, The Accidental Tourist and Body Heat, but Jane Eyre? What drugs was Zeffirelli on when he came up with that one? I am going into this afraid it will turn out to be another MP99 and I’ll end this post by saying “I watched it so you don’t have to.” Let’s see what happens.
Fiona Shaw’s Mrs. Reed is probably what the makers of Harry Potter saw when they were looking to cast Petunia Dursley. She’s a very good Mrs. Reed. But the Gateshead years are given short shrift here — Jane is tossed into the Red Room for a nanosecond, followed by the opening credits, followed by Mr. Brocklehurst’s visit to the house, followed by Jane and Mr. Brocklehurst leaving for Lowood. The whole thing takes maybe 5 minutes. Aunt Reed even knows about the uncle in Madeira at the beginning of the film. If I hadn’t known the story already, I might have found myself wondering why she didn’t contact him to take Jane off her hands from the instant her husband died.
Helen is very sweet and very good, but her deep, sincere religious faith is missing. For the most part, the only overt religion we see in this film is the rigid, uncompromising cruelty of Mr. Brocklehurst and Miss Scatcherd. But, in the book, Helen, Jane and Miss Temple show us the other side of faith — the kind, compassionate, giving kind of faith. Miss Scatchered acts as if she is the headmistress here, not Miss Temple. And, speaking of Miss Temple, Amanda Root is her usual stellar self in the role. Unfortunately, we do not get to see just how much of an influence Miss Temple is on Jane. Jane is far more outspoken as a child than she is in the book. When Brocklehurst demands that Helen’s curly red hair be cut off, Jane stands up to him and demands that her hair be cut off also. This is out of left field.
Jane’s transition from childhood to adulthood is as abrupt as it is in JE70 — we see Helen’s tombstone and then all of a sudden we see Charlotte Gainsbourg (who is not as pretty as other women who have played Jane — this is a good thing). Miss Temple is still at the school and, in fact, she tells Jane that it is “God’s will” for her to stay at the school and that she “cannot leave.” Poor thing.
Next thing we see, Jane is arriving at Thornfield, which is played by Haddon Hall in Bakewell, Derbyshire. Haddon Hall also appeared in The Princess Bride (Prince Humperdinck’s castle), JE11 (Thornfield), P&P05 (interiors used for the Inn at Lambton), Elizabeth, JE06 (Thornfield) and Lady Jane, among others. I can see why — it’s very impressive and very imposing.
Joan Plowright’s Mrs. Fairfax is fine. She’s somewhat flighty, not related to Edward through his mother’s family, and she speaks some French, but she’s fine. Elle Macpherson is an odd choice for Blanche.
What works in the film? Not much. The music is gorgeous. The sets are beautiful. The costumes are beautiful. But the goodness ends there.
There is so much wrong with this film that it’s hard to know where to begin. But I’ll start with William Hurt as Edward Rochester. Hurt’s English accent comes and goes. He never seems tortured enough, nor does he seem passionate enough. At one point, he says “I am hard and tough as an India rubber ball,” but he never makes me believe that he is. I honestly don’t understand what Jane sees in him; he has none of Rochester’s wit or charisma, and they spend so little time together in this movie that having them fall in love comes out of nowhere (despite the fact that Mrs. Fairfax tells Jane that she’d noticed his “growing fondness for you”). I had wondered how Hurt would tackle the gypsy scene, but that was omitted, so I’ll never know.
Charlotte Gainsbourg’s Jane is better than Hurt’s Rochester, but I don’t see much passion in her either. Jane is somewhat restrained, but Gainsbourg is too restrained. At 5′ 8″, she’s far too tall to be Jane, so it’s probably a good thing that we don’t hear Edward constantly refer to her as a fairy or an elf or a sprite because that would just not be believable.
As for the film itself, it was OK until the last half hour or so. At that point, it bordered on being an unrecognizable mess. To backtrack a little bit, when Jane goes back to Gateshead to see her dying aunt, we learn that St John Rivers is the Rector of the Gateshead parish and that his sister Mary lives with him (as an aside, Samuel West is a fine actor, and I think he’s a little better as St John than he was as William Elliot, but he’s still no Greek god). After Jane returns to Thornfield, Edward asks her to marry him and all of a sudden it’s her wedding day (we never see Bertha tear the veil). When the wedding is aborted, we finally meet Bertha. Edward never tries to convince Jane to run off to Europe with him, and she leaves after telling him she loves him. Just as the carriage is out of sight (it is literally that fast), Edward is called back because Bertha has set fire to the house (we see her do it while Edward is chasing after Jane in the coach). She kills Grace Poole, she kills herself, and then Edward falls into the fire.
Next thing we see, Jane is in the carriage telling us she’s going to Gateshead to visit St John and Mary. I’m really not sure where this came from, except for the fact that she tells us that they were kind to her. Personally, I think it’s rather presumptuous and very un-Jane-like to do that, but what do I know? Anyway, this trip apparently takes several days, and she winds up in bed for a month. There’s no begging, no rainstorm, etc. Just exhaustion after being in the carriage. Once she’s up and about, St John tells her about her inheritance, and she offers some of it to the girls at Lowood (she also goes to Lowood and visits Helen’s grave), and to St John himself for his missionary work. She hears Edward calling her while she’s at Lowood, but she does nothing about it. St John asks her to marry him and she says she’ll think about it, but then all of a sudden she’s back in the carriage, headed for Thornfield.
Edward and Mrs. Fairfax are actually living in a part of Thornfield that sort of survived the fire. Jane tells Edward she’s there, they embrace, he gets his eyesight back and Adèle comes home from school to complete their little family. The End. See? Both unrecognizable and a mess.
So, while it wasn’t spectacularly bad in the MP99 mold, it was still worse than mediocre. JE34 and JE49 were unintentionally funny enough to make me forgive some their badness, but this one was not funny at all and it was not even entertaining. This was, in fact, rather dull. They took a story brimming with passion and turned it into a snooze-fest. I can safely say that I will never watch it again.
September 23, 2011
Series 2 started on Sunday night. It was up against the final series opener of Spooks, and DA won the ratings battle.
The new series starts in 1916, 2 years after series 1 ended, and opens in the trenches of France during the Battle of the Somme. We see a man, face down in the sand, and it takes a minute before we realize it’s Matthew. So the heir to the Earldom is on the front lines. Soon he’s back at Downton on leave, and the intrigue begins. It’s as soapy as soapy can be, but I still love it.
Matthew has a fiancée, Lavinia, who gives a very cryptic answer when asked how she and Matthew met. Mary is still unattached, but she does tell her family that she’s met someone. Personally, I still hold it against Mary that she refused to marry Matthew until she knew he’d be the Earl for certain, but if Matthew loves her, well then that’s his problem. And it appears that he does still love her.
Bates’s wife, Vera, has come back because she knows his mother has left him some money, and she’s just evil. Just when he thinks he can buy her off and marry Anna, the woman he loves and who loves him back, the other shoe falls. I can’t wait to see how these 2 get together at last.
Edith and Mary still snipe at one another, and Sybil is still in her own little world. Her becoming a nurse reminds me of Lady Georgina from Upstairs Downstairs, and I hope Sybil is as successful as Lady Georgina was. I thought it was so sweet that she wanted to learn how to cook, and her mother’s teary-eyed reaction to knowing just how serious her baby is about going off to war and serving her country was just wonderful. I thought Carson was being way too stuffy in not approving of Sybil’s actions.
All in all, I liked this episode and it’s whetted my appetite for the remaining 7 (plus a special Christmas episode that better be on the DVD!).
The sneak preview of episode 2 is rather interesting. We learn that Matthew’s fiancée, Lavinia, is acquainted with Sir Richard Carlisle, who is Mary’s new beau. According to the press pack, Sir Richard is a newspaper magnate. I have a sneaking suspicion that this acquaintance might not bode well for the Crawley family. Mary’s “interlude” with Mr. Pamuk was the subject of gossip in series 1, and we already know that, even 2 years later, it hasn’t gone away.
Thank goodness it’s back. A good dose of period soap just as baseball season is ending really hits the spot.
September 21, 2011
JE70 stars George C. Scott as Rochester and Susannah York as Jane; it also features Jean Marsh as Bertha and Angharad Rees as someone named Louise. In addition, Sophie is played by Anna Korwin, who also played her in JE73.
St. John Rivers was played by a man named Ian Bannen. I’d never heard of him so I looked him up. He was born in 1928, meaning that he was in his early 40s when this movie was made. George C. Scott was born in 1927, meaning he was only a year or so older than the man playing St. John. Susannah York was born in 1939, making her 30+ as Jane. Interesting tidbit – the music was written by John Williams. Yes, “THE” John Williams. So it’s a given that the music is wonderful. It’s a shame that the print isn’t very good because the music sounds a bit tinny. But then, this is a 40+ year-old production, so I don’t have high hopes for any of the sights or sounds being very good.
The film is only 100 or so minutes long, and the opening credits take up almost 3 minutes. I’m not sure why they thought this was a good idea.
Jane is never at Gateshead. We first see her in a carriage heading towards Lowood, which is suitably gruesome. We see a girl chopping up the ice in the pitcher that is used for washing up. Mr. Brocklehurst brings up Mrs. Reed, but we never meet her or any of the Reed children. We know immediately which girl is Helen, because she coughs almost constantly.
We’ve seen Mr. Brocklehurst complain about the girl with wavy hair, but in this version it’s Jane he’s complaining about. That really doesn’t make much sense to me. Brocklehurst says his lines in a very weird way. I almost think the actor is drunk.
Miss Scatcherd is truly evil – possibly the most evil Miss Scatcherd yet. She makes Jane stand on a stool for the crime of having wavy hair, and makes Helen stand on a stool outside for not obeying her. Of course, given how much Helen coughs, it’s pretty obvious something bad is going to happen to her. Helen isn’t as religious as she ought to be, but they do include the fact that Helen dies in Jane’s arms.
Approximately 15 minutes has been spent on Jane’s childhood which, given that the movie is only 100 or so minutes long, is pretty good. We know that Jane’s childhood is over because, all of a sudden, we see Susannah York laying flowers on a grave, Mr. Brocklehurst is calling out “Jane,” and Susannah York responds to him. There is no way in the world that Susannah York could ever be called “plain.” Even in simple clothes and a not-very-flattering hairdo she’s beautiful. She’s also much taller than Jane should be. Brocklehurst is actually not unpleasant now. But he still sounds drunk and Jane tells him off.
Next thing we know, Jane is at Thornfield. One day, she’s out walking and admiring the view and the music sounds like a heartbeat. All of a sudden, the heartbeat changes to horses’ hooves and we see George C. Scott get thrown by his horse. Finally, a Rochester who is not good-looking. I am actually quite pleased with this. But, oddly enough, we never get the scene where he asks Jane if she thinks he’s handsome.
Unfortunately, this copy must have been taken directly from US television, because it’s pretty obvious where the commercial breaks are. In fact, at the 30:20 mark, it’s very noticeable that something is missing.
Scott is very brusque and downright rude at times. More so than in the book, I think. Or maybe I’m still affected by the charms of the various Rochesters I’ve seen during this project.
We don’t get to hear about Bertha until Edward has been home for a bit. After putting out the fire, Jane asks Edward if the laughter came from Grace Poole, and Edward says yes. This is interesting, because I don’t remember hearing/seeing anything about Grace Poole before this. Perhaps that’s what is in the missing clip. I’ll have to wait until I can rescue my own copy of the DVD from storage. But who knows when that will be.
Blanche is attractive, although a bit long in the tooth. If IMDb is correct, she was born in 1936, making her 34 years old in 1970. Blanche tells Edward that the governess is plain, and I just had to laugh. As I said earlier, I don’t think it’s possible for Susannah York to ever be anything but lovely. As a result, Jane’s speech later on about being plain is unintentionally funny. She does dress better after they get engaged, and she’s never anything resembling plain. I know it sounds as if I’m harping on this, but at least in the 1973 and 1983 versions, they tried to make Jane look as plain as possible. They don’t seem to have tried here.
We do not get the gypsy scene in this version, which does not surprise me at all. 1973 is the first version that has it, and it’s plain that this is a difficult scene to pull off well. Jane never goes back to Gateshead, so we never learn about the rich uncle in Madeira. It is quite rushed – the scene with Bertha and Jane’s veil takes place after about 64 minutes. Bertha doesn’t tear the veil – she just lets it fall onto the floor, but nobody says anything about it. Why bother keeping the scene? The wedding is at 65 minutes, leaving us 35 minutes to meet Bertha, meet the Riverses, find out that Bertha burned down the house, etc. When Jane does meet the Riverses, she tells them her real name, and they are not her cousins, nor does she turn out to be an heiress. Edward goes blind from the fire, but he does get to keep both his hands. Instead of not blinking, George C. Scott just keeps his eyes closed. He doesn’t look injured at all; he just looks as if he’s sleeping.
I have a sneaking suspicion that this was the first JE adaptation I ever saw (if it’s not, then JE43 was, and I didn’t retain much). This was made a year earlier than P71, yet the costumes are so much nicer. There are no icky green plaid dresses or beehive hairdos to be found. The sets are suitably dark and gothic. Except for the fact that St John seems to be more empathetic than he should be (his proposal to Jane is way too passionate), the characters do resemble those in the book.
To be honest, while I went into this willing to be snarky about this film, I found that there was really no need to be. It’s actually quite decent, given the circumstances. There’s obviously a reason I remembered it, even after all these years. Whenever I can get my DVD out of storage, I plan to watch it again.
September 16, 2011
JE83 stars Timothy Dalton as Edward, Zelah Clarke as Jane, Jean Harvey (Mrs. Reed in JE73) as Mrs. Fairfax, Judy Cornwell (Mrs. Musgrove in P95) as Mrs. Reed and Morag Hood (Mary Musgrove in P71) as Mary Rivers. There are 11 episodes of approximately 30 minutes each.
I had only seen this adaptation once, and it was on VHS and it was edited. The DVD version has the missing scenes restored. The Region 1 JE83 DVD is 311 minutes long (Region 2 is 312 minutes). The Region 1 JE73 DVD is only 248 minutes long (Region 2 is 275 minutes long).
The first hour is devoted to Jane’s childhood. The Reeds were unpleasant, but not as awful as they could have been. The Lowood years were much better, in my opinion. Helen was quite good. She was as religious as she should have been, and Mr. Brocklehurst was sufficiently awful. It may be nitpicky, but I was surprised that Helen doesn’t die while sharing a bed with Jane. I’d always liked that in the book; Helen is the first person Jane truly loves, and to have Helen die in Jane’s arms is very powerful. This is the first adaptation I’ve seen where Miss Temple plays an important role in Jane’s life. We even get to see Miss Temple verify Jane’s story, and this is also the first adaptation where Miss Temple leaves the school to get married.
What else do I like? Pretty much everything. The costumes are better than they have been with other adaptations, and Jane’s hair moves – it even comes loose when Edward kisses her. I think the gypsy scene is done better than it was in JE73; Dalton is better at hiding his voice than Jayston was.
All in all, I think that Dalton is more forceful and more vibrant than Jayston. Yes, he’s better-looking than Rochester should be (as have all of the Rochesters we’ve met so far), but he did a wonderful job with the part. He makes Edward simply ooze passion, and we can also see just how tortured he is. As for Zelah Clarke, she is tiny and almost delicate in appearance, but she gives back as good as she gets. She cannot be called plain, but she’s still very “Jane-like” in her performance. I like Clarke better than Sorcha Cusack and her eyebrows. There is such a wonderful chemistry between Dalton and Clarke. It’s almost palpable.
Adèle isn’t annoying, and her accent is good. She doesn’t appear very often, which is fine with me.
I know the story very well, but I don’t know the book as well as I would like. There is a difference. I can quote passages from P&P or Persuasion, but I can’t do that from Jane Eyre. And, because I don’t know the book as well as I know the story, I found myself searching my Kindle from time to time because I couldn’t recall if certain bits of dialogue had been in the book. But this script is amazingly faithful to the book, while not allowing this fidelity to weigh down the production.
However, the fidelity to the story is why I was so surprised (and not in a good way) that this line:
“I sometimes have a queer feeling with regard to you–especially when you are near me, as now: it is as if I had a string somewhere under my left ribs, tightly and inextricably knotted to a similar string situated in the corresponding quarter of your little frame.
was cut out of this adaptation.
The words that come next:
And if that boisterous Channel, and two hundred miles or so of land come broad between us, I am afraid that cord of communion will be snapt; and then I’ve a nervous notion I should take to bleeding inwardly. As for you,–you’d forget me.”
are intact, but the first part is gone. I’ve always loved this speech. I find it to be very sweet and very romantic, and I cannot for the life of me understand why Alexander Baron (who wrote the script) left it out.
And then, for some reason, they added a scene where Rochester tells the attorney who broke up the wedding to find Jane and let him know she’s OK. There have been smaller scenes without Jane, but this is, to me at least, a rather important scene, and I’m very surprised they put it in. I don’t like this scene at all. Jane Eyre is told in the first person. We, the readers, know nothing that Jane doesn’t know, and to put in a scene that tells us something that Jane doesn’t learn about until later was, in my not-so-humble opinion, not the best idea Mr. Baron had.
Andrew Bricknell’s St John is far more handsome than was St John in the 1973 adaptation. He still doesn’t look quite like a Greek god, but he’s not unattractive. He’s very good — he does cold and ambitious very well. This is the first adaptation where we meet Rosamund Oliver. That’s the good news. The bad news is that she isn’t used enough to make us really believe that she and St John are in love.
The blind Edward actually blinks, which may be meaningless to most people, but I’m so nitpicky that I noticed it.
We still get a voice over, but not as much as in JE73. I didn’t mind the voice over in JE73, but there is so much less here that the difference is noticeable. For some reason, I felt more emotionally involved with this adaptation than I have with any of the others, including JE73. As I mentioned earlier, I’ve only seen this production once before (and it was not the “complete” edition). Despite the cuts, I loved it, and thought it was vastly superior to any of the others I’d seen. I wondered if a re-watch hold up to more intense scrutiny. The answer is yes. I still like it better than any of the other adaptations I’ve watched so far. Granted, with the exception of JE73, there isn’t much competition, but I have to say that I prefer it to JE73. These are the first two adaptations I’ve watched for this project that make a concerted effort to tell the whole story, so it’s hard to compare either of them with the earlier versions. I have seen JE70, but I saw it so long ago that I cannot possibly remember how faithful it is; it is next on the list (since Traxy pointed out to me that it’s at the Internet Archive!), and I may end up revising my opinion. And maybe I won’t.
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