What Makes a Good Book-to-Movie Adaptation

There have been many book-to-movie adaptations that have made me excessively and unnervingly happy, just as there have been many that have made me excessively and unnervingly disappointed. There is really no room for anything in between. This is true for many literary nerds like myself, and everyone likely has a different standard for what makes a good book-to-movie adaptation. Mine involves two things: accuracy to the original book’s plot and descriptions, and translating the words to the screen in a way that is just as exciting as the book was.

The first Jane Eyre movie had a lot going for it. I think it did very well in conveying the mood of the book on screen. Jane was plain and passionate, her life and love just as so. Lowood was cold and unforgiving, and Gateshead and Thornfield were both the perfect amount of spooky. However, many things about the plot were changed for the sake of making the movie interesting. Helen’s characterization, for me, was the most drastic change, turning her from a methodical and introverted girl to a warm and immediate friend. I believe that accuracy should never be sacrificed for ratings, so this does not rise to the top of my favorites list.

The second movie was much more accurate. John Reed hitting Jane with the book was kept, Jane’s head wound was kept, the ghost in the red room was kept, and that’s all just in the first few minutes of the movie. Despite all that, it wasn’t a very good movie. There was no connection from one event to the next, and though I’m not certain, I think that someone who has never read the book would have an extremely difficult time understanding what was going on. In the same vein as the above paragraph, I also believe that ratings should never be satisfied for accuracy. Therefore, this is not my favorite, either.

That, of course, leaves the third movie. By using flashbacks in the Rivers’ house as a way to connect each event, the movie was able to be interesting and exciting and still remain true and accurate to the original book. In this way, it was a very good movie, and while I am looking forward to watching all of these movies in their entirety, I am most excited to watch this one.

Good Films Show the Novel in Other Ways

Re-creating novels into movies is a tough feat. It's nearly impossible to get the film to match the book word for word. That is why sounds and images are important to tell the story. It's imperative that the way the film is recorded embodies the images and sounds a reader would have in mind. The 2006 BBC Jane Eyre, directed by Susanna White, does just that; the noises and footage put into the film make up for not being able to read the novel exactly how it is written. 

This film opens artistically with the books Jane liked to read as a child, and show how the book is pictured in Jane's young mind. The other films forgo this. The first scene is more closely done to the novel than the other two, which is important. The Red Room in this novel is a little dramatic, but it really drives home the point of how this room may have looked in a young child's mind. Another important detail that this film orchestrated better than the other two is the effect of disease among the school at Lowood. The impact and severity, as well as number of girls, is shown clearly. Even though the transition from little Lowood Jane to grown up Lowood Jane was just as choppy as the first film, this one shows Jane being an adored teacher at Lowood and the other one does not. Finally as far as plot goes, the proposal scene is quite verbally accurate because Blanche is mentioned as well as all the doubts Jane has, and just like in the novel, it rains in the movie during Rochester and Jane's run back to Thornfield. 

When reading Jane Eyre, there is plenty of outside imagery and descriptions of nature. This film captures that best. There were plenty of nature and outside shots shown. During the proposal scene the sound of chirping birds can be heard. The weather and darkness are also created well in this movie. Nature, an important part of the novel, becomes an equally important factor in the movie. 

This take on Charlotte Bronte's novel speaks the most. It represents the novel the best by really portraying images and how they would look to not only a viewer, but characters inside the film/book. The movie focuses on nature, which corresponds with what the book highlights as well. Obviously a film cannot be exactly like a novel, but this movie makes up for it with other artistic ideas of showing plot and moods. 

Who Has More Passion ?

The three different interpretations of the novel Jane Eyre differ immensely.  From the actors to the setting all of them depict the same scenes, events, and relationships in different ways.  Each film evokes a different emotional response from viewers thus leading viewers to different opinions of each.  Of the three interpretations I did not enjoy Franco Zeffirelli's 1996 interpretation very much at all, but enjoyed aspects of both Susanna White's 2006 interpretation and Cary Fukunaga.

Overall, I did not enjoy Zeffirelli's interpretation.  There were many aspects of the film that broke away from what actually happened in the novel.  For example, Jane wakes up next to Helen Burns' dead body instead of being carried away before waking.  This bothered me because I feel as though waking up next to the body of your best friend would have some serious psychological effects on a young girl.  Due to the fact that this did not actually happen in the book, I do not think that the director should have made it a part of the movie.  Additionally, in this version I did not get the sense that Jane and Rochester passionately loved each other.  They seemed a bit more cold to each other and the way they kissed was very strange and lacked passion.

There were different aspects that I enjoyed about both White and Fukunaga's interpretations of the film.  White's version included many physical details that really enhanced the viewing experience. For example, the depiction of Adele in this version is very accurate and detailed.  The done up curly hair and ostentatious dress is exactly what I would have expected from the book's description of Adele.  I liked that in this interpretation Adele sang and danced in the exact way in which I pictured in the book.  Additionally, the proposal scene includes much more emotion and passion than the first film. I appreciated this because it feels more accurate.  I got the feeling that Jane and Rochester genuinely loved each other and actually wanted to be together.  There were many aspects of Fukunaga's interpretation that I also enjoyed.

Fukunaga's interpretation included my favorite Jane.  Although she had strawberry blonde hair, I thought she did the best job at conveying Jane's passionate personality that is evident in the novel. Another aspect I liked about this version was the fact that it flashed back and forth between Jane at St. John's and Jane at different points in the book.  I thought that this was a nice cinematic touch as it builds suspense and keeps viewers engaged.  The proposal scene in this version was by far the most passionate.  I felt the raw emotions of both Jane and Rochester through the words they said to each other and I really enjoyed that feeling.  Overall, I thought that this version was the most unique and I thoroughly enjoyed it.

Each interpretation of the original novel was unique.  Each made me think about the book differently and made me appreciate the story even more.  It was interesting to see the different interpretations pinned up against one another.

Interpretations of Ideas

The three cinematic interpretations of Jane Eyre are vastly different. From the casting of Jane and Rochester to the way the film is shot, each movie has unique aspects that reflect the primary themes of the book. Personally, I prefer White's and Fukunaga's interpretations over Zeffirelli's. White and Fukunaga create artistic interpretations of Bronte's classic that expand on the original story to make effective and moving films.

Susanna White's 2006 version of Jane Eyre uses the book's symbolism and description of characters in the on-screen interpretation. In what is shown of Jane's time at Lowood, the presence of God in the school is apparent through (slightly heavy-handed) visual representations. When Jane is standing on the stool with the word "Liar" around her neck, a painting of God pointing angrily is directly behind Jane, so that it appears the God is pointing at her. This implies that the fear of God was heavily instilled in Jane at Lowood, setting a precedent for the rest of Jane's arc in the movie. Details like this, and the dark themes before Jane meets Rochester, are nice visual reminders of themes. In the proposal scene that we saw, it is clearly shown that Jane is passionate and emotional, which is not demonstrated in Zeffirelli's version. The weather matches description in the book as well, and overall the movie is very true to Bronte's text.

Cary Fukunaga's 2011 interpretation is not as true to the book, but it is artistically fascinating and takes many interesting liberties with the original story. The movie flashes back and forth between Jane's past and the present, which is the time she's spending at Moor's House. This shows the similarities and differences between portions of her life and, though we didn't get to this part in the movie, I suspect that it compares and contrasts the two proposals of Rochester and St John. This expands past the traditional and expected cinematic-interpretation-of-a-classic-book and pushes the audience to analyze Jane's life more closely.

All three movies are cleverly designed to expand upon the original text in entertaining and interesting ways. The progression of the three movies shows the progression of film and the need to constantly be innovating in order to stay ahead, and it shows how a classic can always be reimagined to take on new meaning.

The New Jane

Passage:

    "As I rose and dressed, I thought over what had happened, and wondered if it were a dream. I could not be certain of the reality til I had seen Mr Rochester again and heard his renew his words of love and promise.

    While arranging my hair, I looked at my face in the glass, and felt it was no longer plain: there was hope in its aspect and life in its colour; and my eyes seemed as if they had beheld the fount of fruition, and borrowed beams from the lustrous ripple. I had often been unwilling to look at my master, because I feared he could not be pleased at my look; but I was sure I might lift my face to his now, and not cool his affection by its expression. I took a plain but clean and light summer dress from my drawer and put it on: it seemed no attire had ever so well become me, because none had I ever worn in so blissful a mood." (Page 242)

Jane is happiest with Rochester. She feels as though he can complete her life and bring her more joy than she could ever dream of. Of course, this changes later in the book. This passage takes place before she finds out that Rochester had been previously married to Bertha and that their marriage will not take place. At this point, Jane is still naive and optimistic about her perfect future with Rochester. This passage is important in understanding how connected Jane feels to Rochester during this time before their first attempt at marriage and throughout the book as a whole. It helps the reader to understand why Jane is and always will be so drawn to Rochester.
 Jane starts off this passage by stating that she "wondered if it were a dream." She couldn't believe that Rochester actually proposed to her and wanted to spend his life with her. Life with Rochester, something that she could have only dreamed of, was now a reality that she never thought she deserved or could have. This highlights that idea that Jane has of herself in regards to Rochester; to simply put it, he is her master and she his servant. Jane strives to please him and do whatever he desires of her. As the passage continues, Jane states that she was only certain of Rochester's love for her and the reality of their future marriage when he professed his love once again. Jane needed Rochester's reassurance and acknowledgement of his love for her to accept reality.
Afterward, Jane begins speaking about her physical appearance and how she sees a different person in the mirror now. She "felt [her face] was no longer plain: there was hope in its aspect and life in its colour," implying that Rochester has made her brighter and happier. However, this statement also implies that Jane was miserable and dull while without Rochester's love. Rochester seems to have brought Jane back to life, both physically and emotionally. She then mentions how her eyes sparkle now with Rochester around her.
The next statement of Jane's regards her previous fear of looking up at Rochester, her master. Since they have finally expressed their love for one another, she no longer feels afraid to look up at him and show her face. Jane states that she "feared he could not be pleased at [her] look," and Jane must do everything that pleases Rochester, nothing else. Jane then acknowledges how her clothing feels different and better since her newfound romance was announced. Her "plain but clean and light summer dress" felt completely new to her. She describes the sensation as: "it seemed no attire had ever so well become me, because none had I ever worn in so blissful a mood." Jane felt so happy and content with her life and future marriage that everything about herself  seemed to be improved and brighter.
This passage shows how devoted to and content with Rochester that Jane was. As a result of this deep connection, it is easy to view the development of their relationship and makes sense of their re connection at the end of the novel. Their relationship dynamic is better understood through this passage as well. The characterization of Jane and how she feels about relationships is quite strong in this passage and certainly necessary to understand her character in a stronger manner.

Family Ties

Passage: (p. 360)



"'Your mother was my father's sister?'
'Yes.'
'My aunt, consequently?'
He bowed.
'My uncle John was your uncle John?  You, Diana, and Mary are his sister's children, as I am his brother's child?'
'Undeniably.'
'You three, then, are my cousins; half our blood on each side flows from the same source?'
'We are cousins, yes.'
I surveyed him.  It seemed I had found a brother: one I could be proud of,- one I could love; and two sisters, whose qualities were such, that, when I knew them but as mere strangers, they had inspired me with genuine affection and admiration.  The two girls, on whom, kneeling down on the wet ground, and looking through the low, latticed window of Moor House kitchen, I had gazed with so bitter a mixture of interest and despair, were my near kinswomen; and the young and stately gentleman who had found me almost dying at his threshold was my blood relation.  Glorious discovery to a lonely wretch!  This was wealth indeed!- wealth to the heart!-a mine of pure, genial affections.  This was a blessing, bright, vivid, and exhilarating;- not like the ponderous gift of gold: rich and welcome enough in its way, but sobering from its weight.  I now clapped my hands in sudden joy- my pulse bounded, my veins thrilled."


St. John is never one to jest, so Jane's repetition of the same type of question in similar fashions is quite redundant.  Asking again and again to be sure of their relationship- "'Your mother was my father's sister?'" (line 1), and "'My uncle John was your uncle John?'" (line 5), Jane goes over every way they may be connected.  Jane is one who tends to be completely thorough in everything she does, and inquiring after their true relationship is no exception.

It is no secret that Jane is also a passionate character.  She throws herself into all aspects of her life, whether in telling Mrs. Reed her mind, standing by Helen or teaching Adele.  This conversation is no exception.  Jane is deeply passionate about her newfound family and the life they will live in harmony from the point of realization on.  In her exclamation "glorious discovery to a lonely wretch!" (line 15) she conveys her surprise at having such good relations.  Jane makes having a family seem as if the mere news of their connection is enough to bring the messiah.

Jane can not quite believe that she has such good family when she first heard the news.  The three brethren are too good and too pure to be truly Jane's relations in her eyes.  She had "found a brother: one I could be proud of" (line 9), which is far more than she could say moments before.  The only brotherly figure she had in her life beforehand was John, who teased her incessantly and later lost his family's fortune in his gambling and alcohol addictions- not behavior to be proud of.  Then comes St. John, who is a devout Christian, well educated, and semi-agreeable.  The introduction of a new brotherly figure is a breath of fresh air for Jane.  Then add Diana and Mary as well, and sound the church bells, we have a family for Jane.  The two girls are Jane's equals in wit and knowledge, and are incredibly nice as well.  Without knowing of Jane's relation, "they had inspired me with genuine affection and admiration"(line 10), bestowing kindness upon an unfortunate stranger.  This showed the truly sincere and kind characters of Diana and Mary, just the sister figures Jane always wanted.  While St. John was often standoffish, Diana and Mary balanced out his nature with their vivacity.  All together, they created a family of Jane's dreams.

Unnecessary Symbiosis

She stared at me. "Mother!" she exclaimed, "there is a woman wants me to give her these porridge."

"Well lass," replied a voice within, "give it her if she's a beggar. T' pig doesn't want it."

The girl emptied the stiffened mould into my hand, and I devoured it ravenously.

As the wet twilight deepened, I stopped in a solitary bridle-path, which I had been pursuing an hour or more.

"My strength is quite failing me," I said in a soliloquy. "I feel I cannot go much farther. Shall I be an outcast again this night? While the rain descends so, must I lay my head on the cold, drenched ground? I fear I cannot do otherwise: for who will receive me? But it will be very dreadful, with this feeling of hunger, faintness, chill, and this sense of desolation--this total prostration of hope. In all likelihood, though, I should die before morning. And why cannot I reconcile myself to the prospect of death? Why do I struggle to retain a valueless life? Because I know, or believe, Mr. Rochester is living: and then, to die of want and cold is a fate to which nature cannot submit passively. Oh, Providence! sustain me a little longer! Aid!--direct me!"

(Page 308)

Throughout Jane’s life she had never experienced hardship such as she did now. When younger, when asked if she would have rather lived in poverty with her other possible relations or stay with the Reeds, she said she would choose to suffer the Reed’s torture than that of poverty. Even when Jane is suffering through starvation and the humiliation of begging and helplessness, she still thinks of Mr. Rochester and how he is fairing. Though Jane has not lived a luxurious life, it has been a privileged one where she has always had someone else to rely on, Bessie at the Reeds, Miss Temple at Lowood, and Mr. Rochester at Thornfield. This passage is indicative of how Jane’s life thus far has left her unprepared to be on her own, and how she relies on others for her survival.

In her worry to flee Thornfield, Jane brought very few possessions with her, and those she brought, she left in the carriage she had spent the last of her money on. She goes around looking for work or food, but ends up starving for three days. It is on the third day that she goes to the girl begging for the scraps of food. What she is given isn’t very edible, as “T’ pig doesn’t want it” and it is described as a “stiffened mould.” When she was at Lowood, the porridge was described similarly and she barely ate it though she hadn’t eaten anything prior. However, now that she has experienced true suffering, she “devoured [the porridge] ravenously.” The word devoured also brings the imagery of frantic movement, distancing Jane from the previous image of her where she is quite reserved and proper from her years at Lowood.

As Jane is considering her life when she is near-death, she is not satisfied with it, nor has she gained her independence yet. Jane is so helpless in finding how to keep herself alive she even wonders“ Why do I struggle to retain a valueless life?” She has never had to care for herself to such an extent that when she does, she wonders whether it is worth it. Also, even as she is contemplating her own death, she wonders about Mr. Rochester and keeps him as her will to continue trying to live. She still need someone else as support, even if it just the idea of them, for her to survive.

Jane is only able to have a successful relationship once she has become able to support herself without relying on another. When she returns to Rochester after her falling out with St John and receiving the money from her uncle’s will, she tells Rochester that she is an independant woman, surprising him. When they do get married, Rochester is reminding her that she will have to be taking care of him now that he is injured rather than him caring for her, but she is now capable to do so. Because Jane can care for herself, she can form healthier relationships with those around her where she isn’t fully dependent on them for survival.