The Ides of March

Starring: Ryan Gosling, George Clooney, Philip Seymour Hoffman, Paul Giamatti, Evan Rachel Wood, Marisa Tomei
Directed by: George Clooney
Written by: George Clooney, Grant Heslov, Beau Willimon
Genre: Drama/Suspense
Rated: R
Running Time: 1 hr. 38 min.
Release date: October 7, 2011

Summary:

The Ides of March (based on Beau Willimon’s original play, Farragut North) stars Ryan Gosling as Stephen Myers, a young but successful campaign press secretary for Governor Mike Morris (George Clooney), the Democratic Presidential hopeful. Although well versed in the political game, Stephen is still idealistic and bright eyed when it comes to Governor Morris and all that he appears to represent. That is until all goes wrong during the Ohio democratic primary, when Stephen takes a misstep regarding his career and simultaneously becomes entangled in a scandal that could lose Morris the race.

Stephen’s boss, Paul Zara (Philip Seymour Hoffman), is a man who values loyalty above all else and is overly cautious about working with anyone who arises his conspirator suspicions. Stephen unfortunately gives Zara reason to doubt his allegiance when he unwisely meets with the opposing team’s campaign manager, Tom Duffy (Paul Giamatti). Duffy attempts to persuade Stephen to defect to the other side and, although Stephen remains steadfast to the Morris campaign, the damage has already been done. At the same time, Stephen discovers that Morris is not quite the man he believed him to be and that his trust in him may have been seriously misplaced. It turns out that nobody on the campaign was quite as loyal to Stephen as he was to them, but then again, he was well aware of the consequences of even the slightest error while working in the political arena. In Stephen’s own words, “If you make a mistake, you lose the right to play.”

Performances:

Clooney does not appear as much as the rest of the cast, as most of the story had to do with those working behind the scenes. Even so, witnessing the character’s unwavering devotion to his idealistic beliefs (upheld in both private meetings and on the public stage), combined with Clooney’s soft strength and charismatic charm, and one cannot help but wish that the man up on the screen actually was running for President. (He had my vote— for the first hour, at least.)

Hoffman’s seasoned, therefore hardened and paranoid campaign manager possesses a contrasting mixture of both passion and exhaustion for the political sphere in which he has spent his life.

Gosling’s performance was top notch and, as usual, he stole the spotlight in every scene in which he appeared. Whether it be of a romantic nature (as with Evan Rachel Wood’s campaign intern, Molly Stearns), or as part of a mentor/buddy relationship (as was the case with Hoffman’s character), Gosling seems to possess a chemistry with any actor with which he shares a scene, making all of his onscreen relationships believable. Gosling’s character makes a swift transition from enthusiastic devotee to revenge-seeking adversary, but this rapid evolution seems credible if you look at the circumstances. Toward the end of the film, Stephen’s world changes at lightning speed. He learns that his faith was mislaid, he was rejected and thrown aside by those who he had chosen to stand by and protect, and he was used as a pawn in a game that he basically thought he was running. The combination of his wounded pride and a desperate need for self-preservation made the quick change of this character believable and Gosling’s convincing performance made it authentic.

Analysis:

The film possessed some of the finest players in Hollywood and it was wonderful to watch them work together. However, the arena in which they played was not big enough or smart enough to hold such great performances.

This movie contains a few plot twists, but most are turns that we have seen a hundred times before. The notion behind it all (that politics are dirty and that anyone in the political racket will, at some point, have to compromise their ideals to get ahead) is as cliché as the sex scandal that threatens to bring Clooney’s character down. The exchanges between the characters are exhilarating and you cannot wait to witness the intensity build and explode in a final showdown— unfortunately, that never seems to happen. On the contrary, the film loses steam toward the end and finishes a bit too abruptly. This quick transition from burning passion to an ending akin to a light simply dying out, exhibiting not even the tiniest hint of a spark before it diminishes, seems very anticlimactic. Then again, that might be precisely what the filmmakers intended to show— how the flame of long held, fiercely guarded principles could so easily and quietly be snuffed out when existing in such an extreme environment. Before the characters knew it, they had resolved themselves to becoming exactly what they had so adamantly opposed before.

The Final Wrap:

This movie was essentially carried by its actors who made lackluster scenes appear exhilarating. (You were so captivated by the verbal exchanges going on that it took a second after a scene was over to realize that nothing much had actually just happened.) Although there were many engaging moments, the film’s plot was cliché and it’s ending predictable. The story brings the demands on those in power closer to home, but in the end, it really does not present us with anything different or original.

Drive

Genre: Drama, Action, Adventure, (Romance)
Directed by: Nicolas Winding Refn
Written by: Hossein Amini
Starring: Ryan Gosling, Carey Mulligan, Albert Brooks, Bryan Cranston
Rated: R
Running Time: 1 hr. 40 min.
Release Date: Sept. 16, 2011

Summary: Based on the 2005 novel by James Sallis, Drive is the story of a Hollywood stunt driver who moonlights as a getaway driver. Swift and articulate with hardly a word spoken, Driver (Ryan Gosling) is perfect at his job and in keeping to himself— that is, until he meets and falls for his neighbor, Irene (Carey Mulligan). Driver, Irene, and Irene’s young son, Benicio (Kaden Leos), quickly form a sort of family unit— just in time for Irene’s husband to be released from prison. Although the husband, Standard (Oscar Isaac), now intends to live a corruption-free life for the sake of his family, he is quickly sought out to perform a robbery by the criminals he became indebted to in prison. Because the lives of Irene and Benicio are threatened if the Standard refuses to oblige, he agrees to the heist and Driver offers to help. The job goes wrong, however, and everything spirals out of control from there.

Performances: Driver is unswervingly composed, detached from the drama around him, and is exactly the kind of character that many performers tend to overplay. Often times when actors attempt this type of role, the presentation comes across as either robotic or arrogant. Gosling’s performance, however, appears completely natural, which may be due to the fact that he never pushes the “cool guy” aspect too far. Where other actors may have shoved the role into overdrive and turned the character into something laughable, Gosling reins it in and provides the character with genuine and understated self-confidence. Early on in his career, it may have been easy to dismiss Gosling as merely a pretty face, but after witnessing his incredible performances in recent films such as Blue Valentine and Drive, there is no denying this actor’s capabilities and most certain place as one of Hollywood’s brightest stars.

Analysis: Economy is important in this movie and no time was wasted with unessential details. Cutting out extraneous dialogue and unnecessary scene content not only reflects the quickness and urgency of the film’s subject matter, but also demonstrates the director’s trust in his audience. Slow motion is often used to enhance the action portion of a film, but in this case the director uses the device to slow the story down and allow the audience to focus on the important, life changing scenes in the lives of the characters; (the scene in which Irene’s sleeping son is draped over Driver’s shoulder marks a significant change in the relationship between Driver and Irene— the director, therefore, slowed the moment down to ensure that it was just as important to the audience as it was to the characters). The director's use of flashbacks keeps the audience immersed in the main parts of the film while simultaneously providing them with the backstory of each scene. When presented in this way, the additional information injects more meaning into the story than if each event was presented in succession.

Drive contains moments of extreme violence which may be off-putting to those who do not appreciate why this aspect of the story was so necessary. The first inklings of romance between Driver and Irene are sweet and simple. From the way they blissfully stare at one other with complete certainty to the meaningful way in which they first lock hands, we see a love that runs deeper than if the two had just jumped into bed together. Add to this the way that Driver cares for Irene’s young son (wanting to share with him new experiences, watching television by his side with childlike enthusiasm) and it reveals a genuine love that Driver had not experienced in his life before this time, (at least the part of his existence that we were privy to). So, maybe it is because of this extreme innocence that extreme violence is not only called for, but seems more than reasonable. Because the director adeptly made the audience feel about Irene and Benicio the way that Driver felt about them, we, too, wanted them protected at any cost. Although we, personally, may not have chosen such excessive ways in which to eradicate these people, we must remember that Driver was a part of a brutal criminal world and was acutely aware of how these people operate— therefore, no chances could be taken when dealing with them. In order to defend his “family”, Driver had to revert to a fierce, primitive state and simply do what needed to be done. Hence, the violence is necessary when you consider Driver’s mentality and fundamental need to protect this pure, innocent love from the cruel outside world that would surely destroy it.

Perhaps one of the most obvious and highly anticipated aspects of the film had to do with the music that the director chose. 1970s/1980s European pop music provided a specific mood for the film and served as a sort of narrator, with the songs’ lyrics informing you of exactly what was going on in the story. The director took a chance in doing this, since, just like dialogue that is too “on the nose”, this technique might have resulted in something laughable— if not for the way that the movie was presented in the first place. Filmmakers have recently attempted to recapture ‘80s nostalgia in films, but simply throwing in a gathering of set pieces and outfits from that time period are not enough, so these films do not seem to work. What these movies lack is a grand, almost over the top feeling that must be so intricately woven into the fabric of the film that you don’t even know it’s there. That is what this movie does. Because the story possessed this larger-than-life feeling, it allowed for an exaggerated, heroic vibe that is normally only found and acceptable in ‘80s era films.


Final Wrap: In this stretch of movie history, where almost every new film is either a remake, a sequel, or based on an idea we’ve seen a thousand times, it’s great to see a movie that is actually an original concept. (Yes, the movie reflected on earlier films and characters, but it is still an original movie in its own right.) Even more amazing is when a movie presents familiar situations in a completely new light. For example, audiences have witnessed so many cops and robber car chases on film that we would never expect to actually witness one that is fresh and original, (especially when most filmmakers’ idea of improving on this concept would be to simply create bigger and louder explosions). Nevertheless, the beginning of this movie included a car chase like you’ve never seen before and from those first few minutes audiences knew that this movie was going to be something different.

The mix of original storytelling and unique style, along with a gifted cast and a most talented lead, made this a wonderful film experience and put this movie in a league all its own. Although this independent film was obviously not as widely released and extensively advertised as many of the larger blockbusters, in the long run, this iconic movie is sure to beat out the majority of current releases in going on to become a much loved cult classic.

The Help

Genre: Drama, Comedy
Written and Directed by: Tate Taylor
Starring: Emma Stone (Skeeter), Viola Davis (Aibileen), Octavia Spencer (Minny), Bryce Dallas Howard (Hilly)
Rated: PG-13
Running Time: 139 minutes
Release Date: August 10, 2011




Summary:

The Help, based on the 2009 novel by Kathryn Stockett, is a story about three courageous women who come together to expose the unjust way in which African American housemaids were treated in 1960s era Jackson, Mississippi.

Eugenia “Skeeter” Phelan (Emma Stone) is a young, aspiring writer who lands her first assignment after returning home to Jackson after attending college. Since the assignment is a cleaning advice column, (a subject that Skeeter knows nothing about), she enlists the help of an expert: African American housemaid, Aibileen (Viola Davis). However, after witnessing the cruel way in which Skeeter’s white, childhood friends speak about and treat their black housemaids, Skeeter realizes that there is a much more important story to be told– that of the lives of the maids working for white households. After much convincing, Skeeter recruits Aibileen to help her in this endeavor and the two women risk job loss, social exile, arrest, and worse in order to secretly meet and record these stories. Despite all of this, Aibileen’s best friend and fellow maid, Minny (Octavia Spencer), soon joins the cause, as do many other maids. What results is a quiet revolt in the form of a collection of writings that turns Jackson’s social structure on its head.

Eventually, this endeavor becomes much more than an assortment of tales exposing the prejudices of a few white households. It transforms into an important movement that has a legitimate chance of facilitating change in Jackson, Mississippi and beyond. The journey also serves to bring change to the individual women involved in the project, imbuing each with a feeling of power over their lives and a renewed sense of hope for the future.

Performances:

Emma Stone tends to shine in everything that she does and this movie is no exception. She is fresh yet determined, and her sweet and honest performance holds our hearts throughout. (In the scene where Skeeter’s mother reveals the truth about Constantine, the family’s maid, Stone’s performance causes the audience to suffer along with her and want to comfort her, all at the same time). Viola Davis is wonderful as Aibileen, gifted enough to convey both extreme pain and cool indifference with a simple look, and Octavia Spencer’s Minny is comical, merely through her display of straightforward honesty. But perhaps the most memorable performance was the one given by Bryce Dallas Howard as “Hilly”. Hilly is the head of the white, social group in Jackson and makes sure to remind everyone of this. An obviously unhappy person, Hilly scrutinizes every step the housemaids and even her own friends make, waiting for her chance to pounce on any type of defiance. Howard plays the part perfectly. Although Hilly is more of a caricature than a realistic character, you end up disliking her so much (even after you have left the theater), that it is obvious Howard has done a good job in portraying her.

Analysis:

Some audiences may have a problem with the way in which racial issues are depicted– with a bit of sugar coating. We all know that the lives of African Americans were a lot worse than anything this story comes close to touching. However, this is not a gritty drama about the stark reality of African American life during the 60s and it doesn’t claim to be. It is an idealized representation of what actually occurred during that time period and the information is presented in a way that most people can connect with. Sometimes we have to beautify the facts a bit in order to get our meaning across, since the harsh, ugly truth is often so hard to handle that people end up turning away from it, never sticking around to hear the rest of the message. This story may not be as true to life as it could be, but the heart of it is.

The Final Wrap:

This movie effortlessly stirred up deep emotional issues (both positive and negative) and brought you to tears without ever being melodramatic. The realistic, fleshed out characters were portrayed by gifted actresses who drew the audience in and allowed us to experience joy and sorrow along with them. For what it is, the movie was well done and is sure to become a film that people will want to experience again and again.

Super 8

Genre(s): Sci-fi, Action
Written and directed by: J.J. Abrams
Producer: Steven Spielberg
Starring: Joel Courtney (Joe Lamb), Elle Fanning (Alice Dainard), Riley Griffiths (Charles), Kyle Chandler (Jackson Lamb), Ron Eldard (Louis Dainard), Ryan Lee (Cary)
Rated: PG-13
Running Time: 1 hr. 52 min.
Release Date: June 10, 2011

This sci-fi adventure from director, J.J. Abrams (Lost) and producer, Steven Spielberg (E.T. the Extra-Terrestrial), was one of the most anticipated and secretive summer releases. Speculated to evoke the spirit of classic “Spielbergian” films, this was an enjoyable, humorous, and sometimes touching adventure—but did it live up to all the hype?

*Warning: Spoiler alert

Summary:
Super 8 is a fast paced tale of a group of kids in Ohio attempting to make a zombie movie (using a Super 8 camera) back in the summer of 1979. While filming one of their scenes on a train platform, the passing train crashes into an oncoming truck and violently derails, sending our kids scrambling from the massive explosions and flying rail cars that result. After hearing the confession of one of their school teachers at the scene and witnessing the commotion that quickly ensues, the children realize that this accident was not an accident at all and marked the start of something much larger. Strange occurrences all over town (such as the disappearance of people, electrical supplies, and the town’s entire dog population) prompt the local sheriff’s office to unsuccessfully question the military, who had moved onto the scene only seconds after the crash. The town is soon caught in the middle of a chaotic war zone and the kids are the only people who have a clue as to what’s actually going on.

The emotional story concentrates mainly on the lead character, Joe Lamb (Joel Courtney), and the kids’ film actress, Alice Dainard (Elle Fanning). Joe has lost his mother to an accident at a local factory and now lives with his father, Jackson Lamb (Kyle Chandler); an arrangement that is not quite working. Because Alice and her father also exist in a less than ideal situation, she and Joe instantly become friends, and a link in their pasts serves to further strengthen their bond. Another important connection should have been between Joe and his father, but that relationship never seemed to develop enough for the audience to care about it one way or the other.

Performances:

The casting was wonderful and all of the kids were entertaining to watch, yet two performances seem to stand out the most. One is that of Ryan Lee as Cary, the adventurous cameraman who wants to blow everything up. His quick comebacks and impeccable timing seem to flow naturally, making the smart-aleck banter between the members of the group appear authentic. The other performance is that of Elle Fanning as Alice. At only thirteen years of age, Fanning possesses a mature quality beyond her years. Although she was required to simply be cute and fresh in most scenes, when she turned on a serious face it made it hard to believe that she was the youngest actor of the group. (Fanning’s breakdown in the scene where Alice and Joe watch one of his home movies was particularly moving and clearly foreshadows a promising acting career for this young performer.)

Analysis:

There were many exciting events in this movie—most notably the train derailment scene. The mix of sound effects and realistic action was mesmerizing and maybe one of the best scenes of its kind on film. However, the quick pace of the movie never seemed let up, which made it feel as though we were running throughout the film, never pausing long enough to take in the emotional weight of a situation nor the intricacies of a relationship.

The attempt to blend the two narratives being presented—the emotional, human story and the science fiction aspect—met with some confusion. Because of this, scenes focusing on the culmination of the two ideas, (such as the melodramatic last scenes of the film), just did not seem to work. There was no real connection between the creature’s life and Joe’s situation, so trying to mesh these two storylines by simply adding a line that Joe recites to the creature during a final scene felt like a last shot effort to fuse everything together.

The Final Wrap:

This film was rumored to be in the vein of a classic Spielberg movie—as being a sort of homage to the great director’s work. However, although many of Spielberg’s ideas were dispersed throughout the movie, the emotional magic that is inherently felt when experiencing a Spielberg film was notably absent from Super 8, (though you could clearly spot where Abrams intentionally attempted to infuse it).

Although Super 8 is not perfection when held up to the light of a classic Spielberg film, what movie is? The film was a highly enjoyable and adventurous tale, and will probably be one of the best releases this summer. You will not walk away from the film feeling emotionally complete, but you will definitely have been entertained. (It’s worth seeing this movie for the train scene, alone- not to mention the amusing interactions between the kids.) For even though its parts did not blend seamlessly together, this movie at least made an earnest attempt at what many filmmakers fail to do with science fiction movies these days, which is to provide an actual story to accompany all of its special effects.

The Magic of the Movies

In recent years, we have been consistently reminded of the many hassles with attending movie theaters. Ticket prices are extremely high, people are exceedingly rude and, on average, a small popcorn will run you about ten dollars. Alright, point taken. There are several problems associated with going to the movies. So why do we still attend? With all of the technological advances in home theaters and in light of the FCC’s decision to allow the streaming of new theatrical releases directly to our home televisions, why would we continue to subject our nerves and wallets to the constant onslaught of the theater going experience? Simple: because there’s nothing else like it— and we know it.

It’s the atmosphere...

Walking into a movie theater, we are instilled with a sort of exhilaration that only an actual theater can provide. Whether it be of classic décor, with silk curtains draping the walls, conjuring up images of golden age Hollywood glamour, or of contemporary design with stadium seating and leg room to spare, movie theaters illicit a feeling of wonder and anticipation. Before the film even begins, many of us feel privileged just to be there.

the sights and sounds…

No matter how much time and money we spend obtaining the finest quality, high-tech equipment for our homes, the effect will never come close to matching that of a genuine theater. Unless we are wealthy enough to contain an actual movie screen within the walls of our homes, the size of our televisions will never match the magnitude of a theater screen. Because of the sheer size of the screen, all distractions immediately surrounding the film have been removed, allowing it to completely engage your vision and mind, (unlike the experience we get at home). Add to this the vast, specially designed space of the theater, which allows for the advanced surround sound system to play off of its acoustics, and we have got a truly engaging experience. All of this enables the observer to see and hear everything mixed and mastered the way the moviemakers intended, completing the final masterpiece that is film. The unified intensity of sights and sounds so deeply immerses us in the experience that a heightened sense of awareness often sends us into a state of suspended reality. This feeling often grabs hold of us so strongly that it does not let go of us for hours afterward— long after the movie has ended. No matter how great the film, I have never walked away from my television feeling like that.

the adventure…

Do you remember how special it was before the time of home recording devices, when we would have to wait for our favorite movies to be played on television, since that was the only way we were going to see them? We would wait with anticipation for those few wonderful hours, knowing that we may not see this film again for a very long time. However, when these devices came out, allowing us to watch a movie anytime we pleased, the event was somehow not as remarkable. Not only were we now able to view movies anytime we pleased, but also anyway we pleased. We could now press stop at anytime, walk away, and just pick it up later; if we missed something, we could simply rewind. Other great events cannot be suspended in this way— a sunset, a storm— but now you can pause a great adventure or a terrible tragedy. This somehow takes away from the greatness of a film.

It is the same idea with watching movies at the theater compared to in our homes. At the theater, we make sure that everything is set ahead of time, because there is no pausing and walking away like we do at home. No taking a break to get up for snacks, no stopping to clean the living room, and heaven forbid you should have to go to the bathroom. Some people find this an inconvenience, but others consider this is one of the great joys of attending the show- to be transported to another world, completely. The focus of our attention is centered on the screen, and there is no stopping to deal with phone calls, kids, and the like. For those couple of hours, our world is that movie, and we cannot just pause it and walk away. If we do, even just for a moment, we will miss something - and that makes it all the more special.

and the friends we meet along the way…

One of the few occasions where people are comfortable planting themselves in the middle of a crowd for a few hours is during a movie. Not before the show starts, (when you’re hoping that your strategically placed coat will maintain a minimum five foot, people-free radius around you at all times), but during the actual movie. Let’s not get into all of the complaints we have about the people that often surround us, because we’ve heard it and personally encountered it hundreds of times. Instead, let’s focus on how wondrous it can be when a group of people experience something as one. Someone’s hysterics from across the room makes you laugh even harder at the comedy you’re watching, someone’s scream from behind you frightens you more than the horror movie itself, and the uncontrollable weeping two rows ahead of you emotionally links you to that person, and assures that you that you are not "alone" in the theater. Yes, we know that people have always been and will continue to be ignorant, obnoxious and rude. However, they may also be the key to our movie going experience. When all of us come together, simultaneously feeling and exhibiting the same emotions, a collective consciousness pervades the theater and at the end, it’s as if you’ve experienced a magnificent adventure alongside a close group of friends— and the journey would never have been the same without them.

…that create this magical experience.

So, no matter how much we spend on our home systems and how much we kid ourselves into believing that it’s the same experience as attending an actual theater, we know it isn’t. Movies are larger than life and they require a space of equal magnitude in which to exhibit them.
In the end, it is not the ambiance, the size of the screen, or the people that surround us— it is all of these things. It is a unique combination of factors whose likeness cannot be replicated by any other means, each part that makes up the whole of the “theater experience”.

There will never be a substitute for our theaters. They are a part of our history and a part of movie making itself. Hopefully our tendency toward instant gratification and our intolerance for one another will not allow this great institution to fade away. I, for one, would find this a great tragedy.

Jane Eyre

Genre: Drama, Romance
Director: Cary Fukunaga
Starring: Mia Wasikowska (Jane Eyre), Michael Fassbender (Edward Rochester),
Judi Dench (Mrs. Fairfax), Sally Hawkins (Mrs. Reed)
Rated: PG-13
Running Time: 2 hr. 1 min.
Release Date: Mar 11, 2011

Summary:

In the most recent movie adaption of Jane Eyre, director Cary Fukunaga (Sin Nombre) crafts a unique version of the Charlotte Brontë tale. The movie begins midway through the novel as Jane (Mia Wasikowska) rushes from a mansion in the English countryside, trudging through the sodden muck of the moors, and presenting us with the possibility that the woman we are watching may not survive her journey. Fortunately, she is rescued by the clergyman (Jamie Bell) upon whose doorstep she has finally collapsed. From here the story progresses through flashbacks, revealing the people and situations that have led Jane to this point in time. In her childhood, the poorly treated orphan is physically and emotionally abused, first by her own family at the home of her aunt (Sally Hawkins) in Gateshead, and then by the staff at Lowood school, where Jane was promptly abandoned. A mature Jane eventually arrives at the home of Edward Rochester (Michael Fassbender) to begin her employment as governess of Thornfield Hall. Here, Jane’s unyielding convictions are challenged when a twist in the story causes her head to battle against her heart.

The film concentrates on the important aspects of the novel, such as Jane’s determination to forge her own lot in life, (a rarity for women during the Victorian era in which the story takes place), and the courage to always embrace the pride within herself. The fortitude that this character continually maintains makes it easy to see why the novel is considered an important early feminist work.

Performances:

Wasikowska is a fine choice to play Jane, as her physical appearance provides an ideal representation of understated beauty. Her performance, however, came across a little too sedate. During the time in which these stories take place, politely guarded conversation between the sexes could only hint at the emotional chaos that brewed beneath the surface. In order to translate this onto film, actors must be able to convey this hidden passion to the audience. However, the fire that was supposedly burning under Wasikowska’s cool exterior seemed dim and, at times, completely extinguished. Luckily, Fassbender turned in an electric performance as Rochester, successfully providing the intended spark between Jane and her beloved. Another actor worth mentioning is the always brilliant Judi Dench, who plays Mrs. Fairfax, housekeeper of Thornfield Hall. This character reveals much of the necessary back story on Rochester and acts as a sounding board for and mentor to Jane. Dench skillfully downplays her grand talent for this minor but significant role, creating a simple yet endearing character.

Analysis:

The finest achievement of the film is no doubt its cinematography, with the lovely dreariness of the landscape perfectly reflecting the story’s bleak tone. The exquisite details of Thornfield's architecture and decor serve to further immerse the audience in a gorgeous and authentic experience.

The film freshly highlights the darker aspects of the narrative, providing a fantastically mysterious and haunting version of the tale; (an approach that has been all but absent in earlier film adaptations). Despite all that the film has going for it, however, the lack of passion and scene development causes the movie to fall short of the masterpiece it could have been.

It is soon after Jane’s arrival at Thornfield when hopes begin to rise, tensions start to build, and where, sadly, the momentum falls flat and remains on the this monotonous terrain until the end of the journey. Early scenes between Jane and Rochester held promise, bursting with smart dialogue and quick exchanges. Glimpsing the fervor beneath their banter, we optimistically anticipated the liberating culmination of their carefully controlled interactions. We hoped to witness an uninhibited declaration of love, the freedom of the newly unbound spirit— or at least some reprieve from the uninspiring display we had thus far experienced. Alas, when the characters decide to bear their souls, it is spiritless and indistinguishable from the lackluster scenes that occurred before and after it. Rochester sedately declares his love and abruptly proposes to Jane, leaving the audience to wonder if they had missed a scene somewhere. One second we are observing the early budding of a romance and the next second it’s suddenly in full bloom. The lack of graduality in this and other parts of the film made it seem as though pieces were randomly dropped from the complete puzzle of the plot.

The Final Wrap:

One of the strongest aspects of Jane and Rochester’s relationship is that they look beyond their physical selves and are attracted to something intrinsically deeper— each other’s souls. This film appears to be just the opposite. Here, ideal beauty is of the utmost importance and it is the soul of the movie that is lacking. It seems that in his attempt to break the story down to its bare essentials, Fukunaga opted to omit much of the romanticism that defines this type of drama. One can understand that the director’s intention was to present the essential concepts of the story, devoid of all the frills. However, when something is whittled down to its bare bones, sometimes all we are left with is a skeleton of what the masterpiece once was.

This is a solid movie and certainly worth seeing, however, you would do well not to expect the emotional grandeur you’ve come to expect from the gothic novel.