![]() Why?īut it is Marston's severely limited ballet vocabulary that kills this ballet. The story is told in a rather A-B-C fashion, but each scene change is accompanied by "D-men" – a corps of sinister looking guys who crawl around Jane. The sets by Patrick Kinmoth were a series of grey backdrops that moved around to reveal. It sounds like movie music with the relentlessly moody melodies occasionally sprinkled with tinkly piano ditties. The score compiled by and composed by Philip Feeney is monotonous. Alas, it is exactly at this moment when Marston's ballet falls apart, and never recovers.įor one, the ballet is dreary to look at. Of course the heart of the story lies with the adult Jane (Devon Teuscher) and her time as governess to the mysterious Mr. Her Jane was spunky and intelligent – she fought off her cousins, she settled into life at the orphanage, and in the ballet's best pas de deux she happily played with her friend Helen (Anabel Katsnelson). Young Jane's Dickensian childhood was vividly portrayed by Catherine Hurlin who was wonderfully expressive. A&E Home Video will release the movie on Oct. At the end of the day, you can be on your deathbed and the only thing that matters at all in the world is love in your heart.” “Meeting Rochester was her form of healing-to allow herself to love. ![]() “Whereas, meeting Jane was his form of healing,” Morton says. He would have been a very lonely, unhappy man. If he hadn’t have met Jane, his life would have been very, very lost forever. “They are not different ages if you look at people and their souls and their life experiences,” Morton says. The actress recalls that when the movie aired in England, people remarked to her about the age difference between Jane and Rochester. You know when you know somebody so well automatically? He’s her soul mate, and she recognizes that.” Morton believes that Jane fell in love with Rochester, arrogance and all, because “she knows him. ” Both, he adds, are “just so arrogant in their bluntness.” Still, Hinds says, “it always amazed me he was at the heart of classical English literature along with Heathcliff. You would find this piece of dialogue speak to each other that was full of outrageous, hectic, flowery language. Though Hinds never read the entire book, he would take a chapter to peruse during production for “color and background-to try to fill in the gaps that we didn’t have enough time for in the screenplay to cover. “He covers his life with a veneer of coolness, but inside he’s a desperately passionate man.” “He gets angry over the smallest thing,” Hinds says. There’s also a childish element to his personality. He believed that Rochester was a passionate man that had buried his feelings underneath-rather than being a maudlin, depressed figure.” “He had no idea who I was, but it was the passion that drew him to me. “That’s probably how I got the job, because the director, Robert Young, had heard it on the radio,” Hinds recalls. Not that it was personal to me, but I thought I was on this journey with her.”įive years ago, Hinds played Rochester on a four-hour British radio adaptation. At times it was like you were inside Jane and going through with her. Charlotte wrote it in such a way that was so personal. “I really admire people in the world who are honest and good,” the actress explains. ![]() Though the audition never came to fruition, she fell madly in love with Bronte’s novel and felt a real connection to Jane. Morton first read the book a few years ago in preparation for auditioning for the Zefferelli film. “I just think nowadays, we have so many younger actresses who directors can trust,” she says. “That’s never happened before,” says Morton, pointing out that previous actresses who played Jane were in their mid- to late-20s. Morton was just 19 when she made “Jane Eyre"-the same age as Bronte’s heroine. I think you sense in Ciaran’s performance the real tortured quality of this man’s soul.” Wentworth in Jane Austen’s “Persuasion,” Fine says: “He has an absolute magnetic quality. She has this quiet dignity.”Īs for Hinds, who is best known as Capt. “I think Samantha’s performance really illuminates that aspect of Jane. “She finds a moral compass to fight all the terrible things that have been done to her,” Fine adds.
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