Jane Eyre, un'orfana che vive a casa della zia, la Signora Reed, viene cacciata da casa per essere trasferita in una scuola molto rigida e povera. La giovane diventerà un'insegnante e lavore... Leggi tuttoJane Eyre, un'orfana che vive a casa della zia, la Signora Reed, viene cacciata da casa per essere trasferita in una scuola molto rigida e povera. La giovane diventerà un'insegnante e lavorerà come istitutrice presso la dimora del signor Rochester.Jane Eyre, un'orfana che vive a casa della zia, la Signora Reed, viene cacciata da casa per essere trasferita in una scuola molto rigida e povera. La giovane diventerà un'insegnante e lavorerà come istitutrice presso la dimora del signor Rochester.
- Vincitore di 3 Primetime Emmy
- 4 vittorie e 23 candidature totali
Trama
Lo sapevi?
- QuizRuth Wilson stated this mini-series as being her first big break out role since graduating drama school.
- BlooperIn the establishing long shoot of the scene, "An Ernest Proposal," Rochester is standing in the shade and Jane is walking from the sun into the shaded area. When the dialog begins, although they've maintained their positions, Jane is now standing in the shade and Rochester is standing in the sun. This is probably due to the dialog being filmed at a different time.
- Citazioni
Jane Eyre: Sir, I need to have a leave of absence for a week or two, to see a sick lady who's asked for me.
Edward Fairfax Rochester: What sick lady?
Jane Eyre: Her name is Reed. She's my uncle's wife.
Edward Fairfax Rochester: Uncle? You told me you had no family.
Jane Eyre: My aunt cast me out when I went away to school.
Edward Fairfax Rochester: Why?
Jane Eyre: Because I was poor. And she did not like me.
Edward Fairfax Rochester: And she sent you to Lowood without so much as a word or a visit in nearly ten years. So why does she suddenly want to see you now?
Jane Eyre: Her son John is dead. He ruined himself. She's now struck down with his misfortune. I'll only be gone two weeks, I hope.
Edward Fairfax Rochester: Two weeks? That's not possible.
Jane Eyre: You have company, sir.
Edward Fairfax Rochester: Very well. But promise me, you'll not stay with this undeserving aunt more than a week.
Jane Eyre: I cannot promise you. She is dying. I cannot set a time on that.
Edward Fairfax Rochester: Of course, you'll go. I haven't got the power to stop you. You must have some money. Can't travel without money. I haven't given you any salary yet, remember? How much have you, Jane, in whole the world?
Jane Eyre: Five shillings, sir.
Edward Fairfax Rochester: Here, take fifty pounds.
Jane Eyre: No, Sir. You only owe me fifteen. I have no change.
Edward Fairfax Rochester: I don't want change, Jane. You know that. Take your wages.
[Jane nods no]
Edward Fairfax Rochester: You're right. Better not give you all that. You might stay away for three months. Here. There's ten. Wasn't that enough?
Jane Eyre: Yes, sir. But you still owe me five.
Edward Fairfax Rochester: Then, come back for it.
Edward Fairfax Rochester: Sir, I have to ask you something else, a matter of business. You have as good as said you intend to be married.
Edward Fairfax Rochester: Really? That has been settled then, has it? You've decided that Miss Ingram is to be my bride. Now I see it. You're going to prevail upon that miserable family to find you a new situation. Ungrateful girl, admit it!
Jane Eyre: No, sir. I've told you they do not like me, sir. To offer such a service... I shall advertise.
Edward Fairfax Rochester: Devil, you will! Advertise! I wish I'd only offered you a sovereign, not ten whole pounds. Give me back nine.
[Jane puts her hands behind her]
Edward Fairfax Rochester: Jane, I have need of it.
Jane Eyre: [smiles, her hands still behind her back] No, sir. I do not trust you.
- ConnessioniEdited into Masterpiece: Jane Eyre: Part 1 (2007)
When Ruth Wilson took the scene, I didn't see at first how she was the unearthly Jane I had read. But it became clearer and clearer, and by far she is the most human and understandable Jane yet. Her face speaks volumes as she says nothing. "That face," comments Toby Stephens' Rochester. It is true. Though we see her silent face many times, we have no problem guessing exactly what she is feeling.
At first, I thought Toby was disappointing. I quite liked the sarcasm of William Hurt in the 1996 version, and Mr. Stephens seemed more brash than sarcastic, more flirting than teasing. But it was the chemistry that quite obviously grew between these two characters that has solidified Toby Stephens as Edward Fairfax Rochester for me. For the first time in a movie version, I realized how much the two had become friends first, and then soul mates.
Two other things were handled extraordinarily. The sex and the scary. From dark corridors and floating candles, burning beds, portraits of mad people and blood dripping, Susanna White got her Gothic right. It is almost a ghost story. This suspense keeps the story from being overly lovey-dovey, and shows a real contrast between the white taffeta-covered aristocracy, and the darkly-clad Jane in Rochester's dim study.
As for the X factor, this is not Jane Austen. Women can have conversations with men alone in rooms. Dark-haired, exotic beauties can seduce with a look, cheat with a smile and sin the world round. All of it is not afraid to show up in this version. Rochester and Jane's connection, displayed quite innocently and platonic in some versions, blazes with passion in this. The flashbacks in the final hour of series are some of the steamiest and most emotionally charged parts of this production.
It's heart-warming, passionate, suspenseful, full of beautiful scenery and costuming; all in all, a whole 4 hours of excellent entertainment. Don't miss out.
- HeatherSpares
- 5 nov 2006
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Dettagli
- Tempo di esecuzione58 minuti
- Colore
- Proporzioni
- 1.78 : 1