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List Price: $14.98 | | Label: BBC Warner
Salesrank: 5625
Released: April 19, 2005 |
| Our Price: $9.41 |
| Used Price: $7.99 |
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MPAA Rating: NR (Not Rated)
Media: DVD |
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Editorial Review:
Jane Eyre (Zelah Clarke) is a mistreated orphan who learns to survive by relying on her independence and intelligence. Her first job in the outside world is governess to the ward of Mr. Rochester (Timothy Dalton) a man of many secrets and mercurial moods. The tentative trust between them slowly develops into romance but their hopes for happiness will soon be jeopardized by a terrible secret .Running Time: 330 min.Format: DVD MOVIE Genre: DRAMA UPC: 794051218926
Description of Jane Eyre (BBC, 1983):
Jane Eyre--the mother of all gothic romances--gets abundant passion in this 11-episode BBC miniseries. Young Sian Pattenden is wonderfully willful and impetuous; viewers will immediately identify with the child Jane as she fights against ill-treatment at the home of her aunt and at boarding school. It's a shame to see her grow up into Zelah Clarke--until Clarke asserts her own quiet yet fierce spirit. The plot really starts rolling when Jane takes a position as governess at Thornfield, a handsome estate owned by the imperious and tortured Mr. Rochester (Timothy Dalton, a few years before he became James Bond). From there, this 1983 adaptation rips through the perilous highs and devastating lows of Charlotte Bronte's powerful novel, in which the courtship of these two prickly personalities gets twists and turns galore. Though the visual style is a bit pedestrian, the well-crafted script and skillful performances grow more gripping with every episode. The necessary feverishness springs from simple yet effective means, like macabre laughter floating down the halls of Thornfield. The scenes between Clarke and Dalton crackle with chemistry; Bronte fans will not be disappointed. --Bret Fetzer
Jane Eyre (BBC, 1983) Reviews:
A Fine Piece Of Costume Drama 
2009-12-19 - After wanting to see this 1983 BBC production for some time, I've finally gotten to see this at last. Having never actually read the book I wasn't sure what I would make of the production, which had been recommended to me because of me being a fan of Timothy Dalton, who plays the role of Mister Edward Rochester. What I got was a fine production to say the least. It has a fine cast, fine production values which help to tell this atmospheric romance/drama in a fine fashion.
The cast is fantastic to say the very least. Both Sian Pattenden (as the child) and Zelah Clarke (as the grown-up) both give fine performances in the title role of Jane Eyre, both are believable in their roles and come across as strong willed but all too human characters, which is especially true of Clarke as her relationship with her employer Mr. Rochester grows throughout the story. Speaking of Mr. Rochester, there is an absolutely brilliant performance by Timothy Dalton in the role. Dalton shows a huge range of emotions in the part and he shares some fine chemistry with Clarke and they really work well as a couple. There's also a fine supporting cast as well including Jean Harvey as Rochester's housekeeper Mrs. Fairfax, Damien Thomas as Rochester's mysterious friend Richard Mason, Judy Cornwell as Jane's aunt Mrs. Reed, Mary Tamm as Rochester's love interest Blanche Ingram plus Elaine Donnelly, Morag Hood and Andrew Bicknell as the Rivers family amongst others. Also of mention is the performance of Joolia Cappleman as Bertha who, while not often seen, has a considerable influence over the story and lends it much of its atmosphere and mystery. Together they make for a fine cast of actors and actresses.
There's also some fine production values as well. It was shot on both film (for exterior scenes) and videotape (for interiors) which some people have used against it as a way of calling this a cheap looking production. Nothing could be farther then the truth, which is that this was standard BBC policy at the time and virtually all of the programs made by the BBC (such as the original TV series of Doctor Who for one of many examples) were shot that way. Besides one shouldn't judge the production based on that, in my opinion anyway. Instead it should be judged based on the costumes and sets used. Both of those categories are successes as the BBC was more then capable on making fantastic period sets and costumes. Both the interiors and the exterior scenes are well shot and lit, which help to evoke both the moodiness of the story and the atmosphere of the period as well as seen in any of the scenes (interior or exterior) at Thornfield Hall for example. There's also some fine make-up work as well, especially in episode eleven which should be seen as not to spoil the story for anyone. There is also the music of composer Paul Reade who produced a fine piece of music for the titles sequences and the sporadic, but well made and used, pieces heard throughout the production as well. Once one looks past how the production was shot (which shouldn't really even be and issue), there are plenty of things in the costumes, set, make-up and music to admire about this production.
Last, but not least, is the script which was written by Alexander Baron from the novel by Charlotte Brontë. Having never read the novel, I am unable to judge how faithful the script is to the original novel though, from what I've read from other reviews, the script adheres to the novel rather faithfully. Judging it then from the point of view of the writing alone it is a well constructed story which goes from Jane as a girl to her becoming the governess for Rochester's ward and beyond. There is a steady build-up of tension once Jane arrives as a mysterious laughter can be heard along with unexplained occurrences and Jane's growing feelings for Rochester. Especially since it is told across eleven half-hour episodes which each ending, cliffhanger like, at a point that brings the viewer back to see what happens next (especially someone like me who hasn't read the novel). This may be down to the novel, I don't know, but even if it is there is much credit to be given to Baron for being able to bring it to this production.
All in all this 1983 BBC production of Jane Eyre is a fine example of BBC costume drama. Meaning that has some really fine performances from its large cast (especially Zelah Clarke and Timothy Dalton), fine costumes and sets and a well written script. It is a moving human drama that is nonetheless atmospheric and tense. While I can not judge this production to the novel it is based on, I feel confident in saying that this is a fine drama that will prove enjoyable to those who have or haven't read the novel.
The best version
2009-11-12 - I have been looking for this version for quite sometime and was thrilled to find it here and for a reasonalble price. It is 311 minutes long so be prepared for a long time infront of the tv. However, you can watch it by chapters and there is only one dvd so you only have to flip it when you are ready for the next chapters. Timothy Dalton and Zelah Clark is excellent. I wish that Zelah had made more films. Enjoy if you are as much a fan of Jane Eyre as I am.
Excellent Product and Fabulous Seller
2009-11-05 - I had an excellent experience with this seller. The first DVD was damaged and would not play certain episodes. The seller was quick to respond and offered to send a replacement the next day. The replacement worked perfectly.
Powerful, Unforgettable, A Low-Budget Masterpiece
2009-10-20 - This BBC adaptation, over 25 years old now, is often scorned for its relatively low production values; "bad soap opera" has become the go-to put down for those thumbing their noses at humble, made-for-TV '83. The label is applied with casual disdain, with the smug confidence that everyone will agree. If all those bad soaps were even half as good, I'm very sorry now to have missed so much afternoon television. I fell hard for this version (superb and very faithful to the book) long ago, and still prefer it to any other; it inspired me to read "Jane Eyre" in earnest. Timothy Dalton and Zelah Clarke, both phenomenal, are Rochester and Jane--just as I envisioned them. They could have delivered their lines on a bare stage and have wowed me just the same. I'm enchanted, mesmerized, moved as if for the first time--no matter how many times I watch. For me, it's all about the performances; and the undiluted Brontë dialogue is a huge plus.
Much has been said of physical appearance in reviews here and elsewhere, some remarks none too flattering. A sampling: too handsome, too tall, too skinny / too plain, too short, too plump, too old--and I've seen worse. A different complaint, very common, is "no chemistry." I'm baffled when I come across comments like this: if these two had generated any more heat, conveyed any more repressed longing, my screen might incinerate--and me with it! I adore the way they look together, want them in each other's arms every moment they're not. I love Clarke's finely-drawn characterization, greatly admire her performance. I'm not alone; Clarke has been highly praised by a great many. She conducts herself in a manner befitting Jane's station, so much lower than that of her employer. She never forgets "...the wider ocean--wealth, caste, custom..." that lies between them. She makes me feel Jane's "acute distress...the vehemence of emotion...struggling for full sway." An equal number strongly disagree; she's also been roundly condemned for her representation, slapped with "unemotional" and "wooden" over and over. I feel that Jane's passionate love for Rochester--her grief at the prospect of leaving him--is laid bare during the proposal scene; Clarke absolutely convinces me, stirs me without histrionics. We're all very different, though; my "perfect Jane" and my "dream Rochester" most likely won't be yours. Watch clips--particularly those of scenes most important to you--then decide if a rental (or a purchase) might be worthwhile. Thankfully, there's a Rochester and a Jane for very nearly everyone now.
Clarke is plainly styled, yes--she is portraying the plainest of heroines, after all. But the simple updo and quaint dresses can't dim her glow: she's "a beauty in my eyes." I've read she had trained as a ballet dancer; this is evident in her excellent posture and graceful movements. I love the quiet dignity, the refined quality of her voice. She has AMAZING EYES--intelligent and soulful--and is capable of speaking with them alone. Watch her hands, too; they say so much--and both she and Dalton use breathing very effectively. Clarke's lovely face is incredibly mobile, registering a wide range of emotions equally well. She's a refined, self-possessed, perceptive and compassionate Jane--and an assertive, excitable, determined, warm, and tender one. And she's abundantly passionate--you have only to watch her closely... There is so much SINCERITY in her love for Rochester. You feel that she understands him, that his broken heart is in good hands--she's his angel. She's playful, too--his elf--and even possesses the "dimpled cheek." She is quite short, as she should be for the role. Brontë wrote, "--being so much lower of stature than he, I served both for his prop and guide." The sight of her--tucked under Dalton's chin, wrapped snugly in his arms--never fails to thrill me. She is absolutely adorable (and 18 enough for me) when still in her nightcap and robe, listening while her seductive master puts his "case" to her, tells her he has "found the being." I vividly recall her anxious face when, in asking Mr. Rochester for leave, she gathers the courage to inquire if he is shortly to be married. When he answers, "Yes; what then?" she looks fatally wounded, but struggles valiantly to regain her composure--heartwrenching! The devastation rocking her can be seen and felt when she bids him farewell "for the present," and the oh so sweet sexual tension reaches a new level of intensity: white hot! (Dalton's farewell "for the present," delivered so very meaningfully, and the desire he expresses for a warmer good-bye, leave me weak-kneed for hours...) And Clarke's teary confession of love under the chestnut tree is EXQUISITE. Clarke has NO EQUAL as Jane, and her performance will not be outdone.
I find Brontë's description of Rochester appealing, save for, "--his unusual breadth of chest, disproportionate almost to his length of limb." That adjective--disproportionate--disappointed somehow, even when I read it as a young person. Dalton's tall, lean, beautifully proportioned Rochester suits me perfectly--he's beyond splendid in the period garb. Yes, he's UNDENIABLY GORGEOUS, but so DARKLY, INTENSELY MASCULINE--"all energy, decision, will"--I can forgive his considerable male beauty: my gaze rests on his perfectly sculpted features with guiltless pleasure. Dalton is almost god-like as Rochester, a force to be reckoned with; he's ruined me for all the others. Readers of the book will remember Rochester makes a number of confessions in Chapter 27. He tells Jane he returned to England "...rid of all mistresses--in a harsh, bitter frame of mind...corroded with disappointment, sourly disposed against all men, and especially against all womankind..." He assures her "It was not [his] original intention to deceive..." and explains "[he] was an intellectual epicure, and wished to prolong the gratification of making...[her] acquaintance." Dalton gets Rochester exactly right--not an easy thing--and he plays his dangerous game expertly. A lesser woman might surrender without a struggle. But Jane presents something of a challenge, resolved as she is to obey him only in "all that is right," so Rochester must take extreme measures to excite her jealousy. Dalton is endlessly irresistible, heartstoppingly sexy, deliciously predatory--never more potently seductive than when testing, teasing and tempting Clarke's lonely little love starved Jane. Observe his eyes as they follow her every move--as she takes up a candle preparatory to playing a tune and, later, as she approaches shyly when asked to join him on the library sofa. He can be just as tender, too: he broke my heart as the vulnerable lover kneeling at her side--begging her to stay. Dalton understands the extraordinary affection Rochester feels for Jane, and utters all those wonderful endearments--"my pet lamb," "my pale little elf," "my fairy," etc.--with a naturalness and a depth of feeling I could not have imagined possible. And that incomparable voice!--very like a caress--I sometimes close my eyes in order to enjoy it alone. Dalton brings the tormented figure to life--in all his complexity--like no one else can ever even hope to: HE'S THAT GOOD. To watch his bitter and despairing but still hopeful Rochester fall for little Jane is to witness a rare magic that won't be repeated. The emotion he brings to the proposal scene--from start to finish--is ASTONISHING IN ITS POWER, and UNFORGETTABLE.
Thornfield has become almost a real place for me, and Rochester and Jane living, breathing lovers--thanks to this treasure.
Once upon a romance
2009-10-11 - During the first half of the 19th century, two of the three Brontë sisters wrote books that have endured as great British literature. The middle sister, Emily, wrote _Withering Heights,_ which became one of the golden year, 1939's, films, Charlotte Brontë, the eldest, wrote the great romance, Jane Eyre, whic has been issued in multiple editions, and filmed 19 times.
The plot is simple: a "plain" young woman, having spent 10 years in an emotionally sterile, still manages to capture the heart of an equally plain man 20 years her senior, loses him, and then, in the end finds him again, after his mad wife has burned down his manor house, taking his eye and hand in the process. This is not the ordinary meat of a great romance, but somehow over the years, millions of people throughout the world have read and watched this story and come away moved.
In this mini-series, the 16th filmed version, Timothy Dalton plays Rochester to Zelah Clarke's Jane. Dalton is probably one of the ugliest handsome men I've ever seen who nevertheless has played the central character is a number of films (remember his two James Bond movies?). Clarke is a wonderful character actress, and probably the closest to Brontë's decision. Each of them do expert performances, playing their characters with warmth, humor and great passion. The sexual tension, never brought to fruition on screen, creates a longing that transfers itself to the viewer.
Dalton's character, believing he will never find real love, growls and snaps at everyone around him, never compromises to the world, and unable to show kindness to his "natural" child, Adéle or any of his servants. However, his willingness to bring an illegitimate daughter into his house, to be raised as a daughter shows his great heart But as Jane begins to fill his world with a shy joy, he that heart to soften to her.
None of the Brontë sisters ever married. It was only through their romances that they could draw their ideal men. The saddest thing about their heroes is that they are all drawn from the withdrawn father who could not show them love. Their stories are testaments to their beliefs that a gentle woman could change such men's personalities, a dream none of them was able to fulfill.
Men and women can related to this romance. Find yourself curled up in your love's arms, crying for the cries of a different time and different kind of story that, I hope, you will never experience.
