Jane Eyre and Rebecca - Case Study Example

JANE EYRE and REBECCA Film Analysis Sheet: Film: “Jane Eyre” Director: Susanna White Year: 2006 This film fits the category of borrowing as set out by Andrew (2000) because it changes and rearranges some aspects of its source material to suit a new audience or purpose. Some of the creative choices made include adaptation of dialogues, which have been shifted away into more simple, modern English, with some of the less important scenes in the film being excluded. But the most important of the adaptations are to be found in the love scenes between Jane and Mr. Rochester, because they have been filmed to include more physical intimacy than would have been normal during the Victorian era. The adaptation does draw attention to the changes because they are evident in the visualization as depicted in the scenes between the two protagonists. One scene in particular is notable in this respect. Jane is shown at Moor House, after having been separated from Mr. Rochester for several months and in a flashback, she remembers all her times with him. As the flashback ends, Jane bursts into tears and this visualization reveals more poignantly than words could, the intensity and depth of her feelings for Mr. Rochester. The interaction and dialogues between Jane and the mad woman Bertha have been adapted to imply a spiritual connection between them that is intended to overthrow the patriarchy existing in the 1800s when the novel was written. This film was made as a BBC television film and was released in 2006. It was primarily intended t reach a large scale television audience. Some dramatic license has been taken with the narrative in order to render it more acceptable in the modern context and to appeal to present day audiences. One example of this is the kissing scenes between Jane and Mr. Rochester which occur on her bed in her bedroom after she tells him she must leave him for ever. Such intimacy would have been unacceptable in the Victorian era and also does not fit into the religious character that Jane Eyre is in the book version. Additionally, imputing that there is a spiritual connection between Bertha, Mr. Rochester’s former wife and Jane with both of them being united together in fighting the battle against patriarchy. This further implies a spiritual connection between the two women which is not based in Christianity. The selection of actor to play the role of Mr. Rochester also seems an inappropriate fit, because the character in the book is a man who is relatively a little frightening to look at; so that Jane’s attraction and feelings for him are based upon his inner person. But in the film, the character is very handsome and flirtatious with Jane, hence it does not appear to conform true to character. The presentation of the character of Bertha has also been dramatized in a way that is not true to the original novel where the character mostly remains hidden and only materializes rarely; in particular she is not shown interacting with Mr. Rochester at all. But the film adaptation of the film does show her interacting with Mr. Rochester on screen, even to the extent that Mr. Rochester has to rebuff her sexual advances. The original narrative has thus been structured in several different ways in order to make it more palatable for modern audiences. A considerable amount of dramatic license has been taken with the characters and some of the core elements of their characters have been changed as detailed above, hence the screen version does not run true to the novel version in several different ways and has been structured much differently. The film adaptation uses editing skilfully, in order to create perceptions and impressions in the viewer without needing to resort to words or explanations. For instance Jane first arrives at Thornfield Manor at night – a dark and dull night, with her entering a gloomy hall. But then she is taken into the drawing room which is brightly lit and provided a warm bowl of stew; similarly the next morning she wakes up in the morning to bright sunlight streaming in through her window – all indicative of a warm welcome. Susanna White’s adaptation makes effective use of camera angles to express the emotions of the protagonist in particular. The camera focuses often on Jane’s mouth, in order to pick up the degree to which the lips move – this in turn registers the extent of the emotion that the character is feeling. The film makes effective use of different types of camera angles in order to communicate the essence of the story to the viewer and present the characters. For example, the excitement of guests arriving at Thornfield scene in the drawing room where visitors arrive at Thornfield Manor is shown from Jane’s perspective using editing techniques. The first shot shows guests arriving through a crack in the door; then the next shot shows the guests from a top angle shot because Jane and her ward are on the balcony. In this way, shot angles help to enhance the air of mystery and Jane’s curiosity. In each different shot from a different angle, the camera chooses to pick up on different people and different costumes. The film successfully uses beautiful cinematography and music to heighten the scenes in the film. The movie was filmed on location at Haddon hall and the beautiful grounds of the location were used to film many of the scenes. Many scenes were shifted outdoors and shot in the beautiful grounds where the natural beauty of the landscape in conjunction with the haunting music score adds considerably to the visual beauty and overall experience of the film. On the whole, it may be concluded that the film adaptation does not follow the novel faithfully or literally. At some places, it perhaps takes a little more dramatic license than what is acceptable, especially since the ethos and values of that period are not sustained and the film has been modernized quite a lot; however on an overall basis, it is a good adaptation. Film: “Rebecca” Director: Alfred Hitchcock Year: 1940 This film best fits into the mould of Andrew’s “intersection” adaptation technique, about which he states that one may observe that "the uniqueness of the original text is preserved to such an extent that it is intentionally left unassimilated in adaptation" (Andrew, 2000: 99). This is the case with Hitchcock’s adaptation of the novel Rebecca because he is able to transcribe the elements of suspense straight from the novel to the film. Although some creative license has been taken in adapting the novel for the screen, it does not deviate too far from the original, mostly because the producer Selznick insisted on adhering to the fidelity of the original printed book.(Greenhill, 2007). The key element of the film which drives it is the element of suspense which Director Hitchcock is able to develop through (a) using editing techniques (b) development of the characters and (c) the location and setting of the film. The location of the film plays a crucial role. The film commences with the words “Last night I dreamt I went to Manderley again”. Rebecca’s first home as the wife of Max de Winter is portrayed in the film as a large, dark, gloomy place. Throughout the film, the kind of shots the director has taken contribute to this impression, because the lighting used is shadowy, giving a viewer the impression of frightening apparitions lingering in the dark corners. One of the most ominous characters in the film i.e, the housekeeper Mrs Danvers, is also shot in shadow most of the time, so that she appears grim and foreboding. The aura of fear lingering around Rebecca as she describes Manderley also contributes to the suspense on the viewer and makes him or her question why Rebecca was so fearful of the place. One of the most masterful techniques used in the film is the creation of suspense through the characters. The forbidding manner in which Mrs Danvers presents herself to the new mistress of Manderley only heightens her insecurities. For example, the constant dialogues from Mrs Danvers emphasizing how smart and capable the former Mrs de Winter had been and her barely stifled contempt for Rebecca’s lack of sophistication only contribute towards creating more curiosity in the viewer about this paragon of virtue, who never actually appears in the film. By creating suspense about this character in the viewer, the film leaves the way open for the viewer to build an impression about the virtues of the former Mrs de Winter, but this impression receives a sharp jolt at the end of the film when Max reveals that he had actually killed her because he hated her. Thus the manner in which the narrative is structured in this film is a continual build up of suspense through editing, use of subdued lighting and shadowy shots as well as a drab and gray looking location. The major characters also contribute towards the building up of the suspense, especially Mrs Danvers through her constant praise for her former mistress. It may also be noted that one of the most effective techniques used in the novel and film is the silence of the main character, Max de Winter. His new wife gains a completely wrong impression about the former mistress of Manderley mainly because of Mrs Danvers and because her husband does not at any time until the end, correct the false impression she keeps accumulating, of the former Mrs de Winters and all her sterling qualities. At the end of the film however, when Max breaks his silence and reveals that he had been miserable and unhappy in his previous marriage due to his wife’s constant affairs with other men – so unhappy in fact that he had finally resorted to killing her and sailing out with her body and sinking it. Such a revelation comes as a sdharp shock to the viewer and contributes a great deal to the film experience. The selection of actors to play the title roles was particularly apt because both the lead actors have turned out powerhouse performances. Joan Fontaine as Rebecca is able to reveal just the right amount of inhibition, shyness and fearfulness that the role requires and comes across as a plain looking woman no match for the glamorous former Mrs de Winter despite the fact that in reality, she is so beautiful, Laurence Olivier is particularly apt in the brooding role of husband who is mostly silent and uncommunicative until the end of the film. The ending of the film is one of the highlights of the film. The major part of the film is presented using shadowy lighting, gloomy locations and characters such as Mrs Danvers – creating through suspense an illusion of a reality that is not actually the truth. But towards the end of the film when the fire breaks out at Manderley, it is a symbolic event – finally flashing the light of truth into all the dark corners that were obscured during the rest of the movie through judicious lighting. It exposes the rot, the lies and deception and fin ally breaks de Winter’s silence. The build up of suspense towards the climax finally reveals all – figuratively and literally through the explosion in lighting as the fire flashes out. In contrast to Jane Eyre, the film Rebecca is a more true adaptation of the novel, but both the films are well made. Rebecca in particular is a masterfully made film because of the manner in which the suspense is handled and built up throughout the film, to finally explode in the form of the fire and de Winter speaking out. The voice over narration used by the heroine, as well as the filmic technique of flashbacks that is use d in the film further contributes to the film’s merit and worth. References: * Andrew, Dudley, 2000. “Film Adaptation”, New Brunswick: Rutgers * Greenhill, Duke, 2007. “Rebecca: How a lesbian-inflected movie got made”, gay and amp; Lesbian review Worldwide, July-August 2007, Retrieved April 24, 2010 from: http://findarticles.com/p/articles/mi_hb3491/is_4_14/ai_n29358548/ Read More