Jane Eyre 1943 123movies

Watch: Jane Eyre 1943 123movies, Full Movie Online – Small, plain and poor, Jane Eyre (Joan Fontaine) comes to Thornfield Hall as governess to the young ward of Edward Rochester (Orson Welles). Denied love all of her life, Jane can’t help but be attracted to the intelligent, vibrant, energetic Mr. Rochester, a man twice her age. But just when Mr. Rochester seems to be returning the attention, he invites the beautiful and wealthy Blanche Ingraham (Hillary Brooke) and her party to stay at his estate. Meanwhile, the secret of Thornfield Hall could ruin all of their chances for happiness..
Plot: After a harsh childhood, orphan Jane Eyre is hired by Edward Rochester, the brooding lord of a mysterious manor house to care for his young daughter.
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Ratings:

	7.5/10 Votes: 8,897
	100% | RottenTomatoes
	N/A | MetaCritic
	N/A Votes: 103 Popularity: 7.39 | TMDB

Reviews:

Are you always drawn to the loveless and unfriended?

Jane Eyre is directed by Robert Stevenson who co-adapts the screenplay with John Houseman, Aldous Huxley and Henry Koster. Based on the Charlotte Brontë novel of the same name, it stars Orson Welles, Joan Fontaine and Peggy Ann Garner. Music is scored by Bernard Herrmann and George Barnes is the cinematographer.

After a harsh and eye opening childhood, orphan Jane Eyre gains employment at Thornfield Hall as governess to the young ward of Edward Rochester. A Difference in class and life outlook, Jane and Rochester are by definition polar opposites, but a bond exists, a bond that surely can’t conquer the mysteries of Rochester the man, and the secret of his estate – can it?

Stevenson’s version of the often filmed Jane Eyre has been pored over numerous times before, the constant question that arises is that of just how much input and work did Orson Welles have in the production? Knowing what we now know of Welles’ 40s output, Jane Eyre undeniably has the Wellesian stamp all over it, with Fontaine herself quoted as saying the big man was often found behind the camera. This is not to decry Stevenson in any way, he himself would carve out a good career in directing further down the line, but this take on Brontë’s famous novel shines because of Welles’ presence in front and behind the camera.

With that comes one of only two quibbles with the film as a whole, namely it’s Welles’ portrayal of Rochester that dominates the film, and not that of Fontaine’s Eyre. Which is quite staggering considering he doesn’t enter the fray until 34 minutes into ty epic. The other problem, naturally, is that with a running time of just over an hour and thirty five minutes, it was never going to be a detailed adaptation of the novel. However, what exists is still an excellent mounted production, a film pulsing with aggressive atmospherics and simmering emotional passions.

It has been argued that the opposing acting styles of Fontaine and Welles are a distraction, I don’t see it that way at all, as one of classic cinemas greatest voices emotionally spars with one of its most beautiful faces, this is monochrome gold dust. In mind of the difference of characters as written on the page, it actually comes off as inspired casting. With the production that surrounds them perfectly in keeping with the characters’ state of mind.

The look is assuredly what would become known as film noir, with George Barnes’ (Rebecca/Spellbound/Force of Evil) vivid black and white photography dovetailing splendidly with the matte paintings and Gothic set designs. It still amazes me to this day that this film was entirely produced on stage 2 at 20th Century Fox. So many images burn into the memory. From the shards of shadows that accompany young Jane as she stands on the punishment stool at Lowood Institution, put there by the despotic Henry Brocklehurst (a menacing Henry Daniell), to each chiaroscuro lit composition of Rochester in and around the oppressive like family home, the film has visual moodiness in abundance.

Herrmann’s (The Devil and Daniel Webster/Citizen Kane) score is crucially in tune as well. Orchestral swirls to portray Jane’s longing are counter pointed by the menacing down beats that attack the viewer for Rochester’s bluster. Away from the two leads it’s young Peggy Ann Garner who delivers the most telling performance. She gives the child version of Jane a sorrowful edge that sets the tone of the film, her early scenes with an uncredited Elizabeth Taylor (beautiful and effectively correct in vocals) are a lesson in child acting. The rest of the cast is filled out with admirable performances from Margaret O’Brien (Meet Me in St. Louis), John Sutton (Captain from Castille), Sara Allgood (The Lodger) and Agnes Moorehead (The Magnificent Ambersons).

This may not be a definitive Jane Eyre adaptation, and the compromised ending does knock it down a point, but all told it’s still a top piece of classic cinema. 9/10

Undoubtedly my favourite Brontë story, and amongst the best adaptations of period drama you could ever wish to see. Joan Fontaine is superb in the title role, a girl forced into a brutal orphanage following the death of her father. After many years of abuse at the hands of the monstrous “Brocklehurst” (Henry Daniell) she finds a post as a governess to the daughter of the reclusive Edward Rochester (Orson Welles) at his remote, gothic Thornfield Hall. After an initially rocky start with her employer, things begin to thaw between them but is any of it as it seems…? Robert Stevenson has created a wonderfully evocative glimpse at Victorian Britain, and with Charlotte Brontë’s superb eye not just for the detail of the story, but for a subtle and nuanced social commentary of a time when – even amongst the most civilised in society – human beings had little, or no value. The film takes it’s time to develop the characters, the locations – the use of light, shadow and another striking score from Bernard Hermann all augment the two leading performances offering us a gripping adaptation of a strong, characterful book. I always find that colour is an inherent enemy of stories like this – monochrome is always king, and never more so than here…

Charlotte Bronte’s Byronic Hero
If you remember any novel at all of Charlotte Bronte, it is JANE EYRE, her romance of a struggling governess who falls in love with a wealthy, mysterious land – owner whose ward needs an educator. It is the story that has been filmed most often of all of Bronte’s novels (three films and a series, as opposed to only one series based on VILLETTE and none for SHIRLEY or THE PROFESSOR). It is not as overpowering in it’s appeal as her sister Emily’s WUTHERING HEIGHTS, but it is (for most people) a good romantic novel. It is also one of the few Victorian novels that is read today (in fact, it was used in an episode of FRIENDS, when Phoebe and Rachel are supposed to be in a literature night school class).

What was unique about the novel when it was published in 1847 was that it was rare for a novel to be told from the perspective of lowly governess, and about unrequited love for her employer. This was really hot stuff for Victorian England (though not as hot as Heathcliff and Cathy running wild on the moors of Yorkshire). The novel also gave Charlotte Bronte a chance to even one old score. The business about her being sent to the school run by Henry Brocklehurst was based on Charlotte’s personal feelings about a school she had been sent to that was run by one William Carus Wilson. She felt Wilson was a hypocrite and tyrant (this view has been disputed by scholars researching Bronte since the 19th Century).

This is the best known version of the novel, but it is not as complete a version as one imagines. The early part of the novel, showing how Jane’s aunt Mrs. Reed and her son John bully Jane (as a poor relation) is cut (John doesn’t even have any lines). Henry Daniell is effective as Brocklehurst, in that his religious tyranny over his students is shown, but the hypocrisy of his behavior (in the novel his wife and daughters are fashionably dressed, as opposed to the girls in his school) is not commented upon. The subplot concerning the Rivers cousins is not included in the film. Possibly this is wise, as it concentrates the narrative to Jane’s hiring by Edward Rochester, her growing love for her “Byronic” employer, and her discovering of the shattering secret that derails their marriage.

When the film was made Joan Fontaine was at the height of her career as a movie star. She had won her Oscar for best actress in SUSPICION only three years before. She fit the role of the quiet “plain Jane” heroine quite well. But in her memoirs NO BED OF ROSES she reveals that she did not like this film. Her co-star got on her nerves. Orson Welles did the role of Rochester because he was trying to demonstrate to Hollywood producers that he was quite a good actor, even if he was not directing as he wanted. But, as it turned out, he got involved in the production of the film – and he had some clashes with Fontane whom he thought was a spoiled star. That their scenes together worked is amazing.

Of the others in the cast, the two I find most interesting are Elizabeth Taylor as the ill-fated Helen Burns, Jane’s closest friend at Brocklehurst’s school. It is a small part, but the beautiful young Taylor makes it heart-breaking. But also note the performance of Hillary Brooke as the fortune – hunting Blanche Ingram, who summarizes the reason for her defeat in this movie while playing billiards with her parents: “GOVERNESSES, MAMA!!”

Other Information:

Original Language en
Runtime 1 hr 37 min (97 min)
Budget 0
Revenue 0
Status Released
Rated Approved
Genre Drama, Romance
Director Robert Stevenson
Writer Charlotte Brontë, Aldous Huxley, Robert Stevenson
Actors Orson Welles, Joan Fontaine, Margaret O’Brien
Country United States
Awards N/A
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono (Western Electric Recording)
Aspect Ratio 1.37 : 1
Camera N/A
Laboratory N/A
Film Length 2,560 m (Yugoslavia), 2,639 m (10 reels)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm