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In 1829, nine-year-old orphan Jane Eyre lives at the English estate of her cruel aunt, Mrs. At the Radio City Music Hall.Edward Rochester. Stevenson William Goetz in charge of production for Twentieth Century-Fox. JANE EYRE, screen Play by Aldous Huxley, Robert Stevenson and John Houseman from the book by Charlotte Bronte directed by Mr. Other collaborations between nature and man are quite as convenient in this "Jane Eyre." For instance, at the moment of betrothal between Jane and Rochester, he has thunder rumble in the heavens and lightning blast a tree. Sara Allgood, Agnes Moorehead and Edith Barrett are good in lesser roles.The settings are heavy and sombre, and Robert Stevenson has directed in a style that suggests the romantic extravagance of dark Victorian prose. Peggy Ann Garner is desperately appealing as the tortured child, Jane, and Henry Daniell is monstrously sadistic as her evil schoolmaster. No wonder there is no sense of love or passion between them. In contrast, Miss Fontaine's performance is so modest and subdued that one comprehends from it only anxiety and awe. We only wish that he spoke more clearly he so mumbles and macerates his words that half the time we were unable to tell what he was talking about. His Rochester has the studied arrogance, the restless moods of a medieval king carrying his own soul on a halberd and demanding that everybody look at it. Welles' ferocious performance doesn't limn Miss Bronte's hero, but it does strike off a figure which is interesting to observe. And the moment of shattering revelation, when the secret of Thornfield is exposed, should be quite a cozy experience for those who have not read the book.Mr. The mysterious moods of Rochester, the secret horror locked away in Thornfield Hall, the screams in the night and the strange fires are all conducive to shivers down the spine. The emphasis is taken away from Jane Eyre as soon as she goes to Thornfield Hall.But that doesn't say that the picture isn't grimly fascinating in its own right, for it does have continuous vitality as a romantic horror tale. Under these circumstances the early part of the film, which gives a very moving comprehension of Jane's sad childhood at Lowood School, seems remote from the rest of the picture.
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She becomes, as it were, a hypnotic under his Svengali spell, and exists in a world of shapeless horrors which are governed entirely by him. It makes Jane a sort of bloodless Trilby from the time Rochester sweeps upon the scene. As a consequence, the heroine of the classic, little Jane, played by Joan Fontaine, is strangely obscured behind the dark cloud of Rochester's personality.True, this accounts for some distortion of Miss Brontë's full-bodied book. Welles most of the story and let him play it in his hot, fuliginous style.
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With Orson Welles playing Rochester, the anguished hero of the book, they mainly gave way to the aspects of morbid horror to be revealed. No depths of consuming passion are plumbed very diligently in this film. The dark, malignant side of Charlotte Brontë, which flashes fiercely through the pages of her "Jane Eyre," sets the tone for the moody film version of this great novel, which came to the Music Hall yesterday.