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Leticia Alvarez
Mr. Newman
English 101: Rhetoric
22 October 2014
This Jane
If history were a video game, the nineteenth century would be the bright flashing arrows
that propel the player into full speed. Marked as a period of tremendous change, it is no wonder
that its literature continues to be a source of inspiration, analyzation, and reflection. One
example of these great works is Charlotte Bronts Jane Eyre a gem that has endured the test
of time. Published in 1847, this novel explores, critiques and upholds themes such as classism,
morality, sexism, feminism, and private consciousness. For this reason, Bronts Jane Eyre is
often subjected to interpretation through various media including movies, plays, discussion
boards and TV shows. In 2011, director Cary Fukunaga released his own adaptation of the
classic. Rather than dissolving into the pool of adaptations, this Jane Eyre was a refreshing take
on the novel and consequently, was widely well received, particularly by critics such as A.O.
Scott and Karen DSouza. Despite their differences in diction, both critics applaud Mia
Wasikowskas performance and the overall adaptation of the novel.
Very similar in their high regards of the film, the critics differ most in the way they
express their positive critiques. Scott communicates his adulation of the film through careful
attention to word choice, purposeful punctuation, and varied sentence structure, but he does not
lose his audience to drab self expression and maintains a compelling journalistic tone. The
active New York Times writer combines the mentioned writing strategies in this example: From
the very first pages of Charlotte Bronts 1847 book, Jane embodies virtues that might be offputting if they were not so persuasive, and if her story were not such a marvelous welter of grim

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suffering and smoldering passion. On the other hand, DSouza delivers an opinion packed
review, without the professional articulation that characterizes Scotts. DSouza avoids dry
diction and instead utilizes humor to convey her opinions. She expertly softens the tone of her
review by using tasteful amounts of humor; regarding the lack of romantic passion in the movie,
DSouza writes: [b]ut there's definitely a smoldering quality about the stillness in this picture as
Rochester stares at Jane, she steals glances back, the housekeeper (Judi Dench) arches her brow
in disapproval, and a crazy woman rages in the attic (Fig 1). The reader is able to sense

contrasting tones in the articles through the writers usage of diction; A.O. Scott, writer for the
International New York Times expresses himself eloquently and professionally whilst Karen
DSouza, writer for San Jose Mercury News, is more casual and witty.
Although differing in their stylistic expression, both critics agree that Mia
Wasikowska outshone her predecessors in her portrayal of Jane Eyre. To both critics,
Wasikowska was perfect for the role of Jane. In the classic, the heroine, Jane, is a spirited young
woman found in the midst of greatly
unfortunate circumstance. A.O. Scott
evaluates Wasikowska as a lovely 21-yearold actress who fulfills the imperative of
plainness with a tight-lipped frown, a
creased brow and severely parted haira
perfect Jane for this film. In accordance

with Scotts point of view, DSouza feels

that the casted actress truly captures Jane
Eyres restless spirit and furthers this by claiming Wasikowska
sculpts her every breath to portray the inner fierceness of Jane. As

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of consequence, the critics assess Wasikowskas commitment and conclude that her performance
is superb.
Both writers also assess director Cary Fukunagas strategic approach in translating the
classic into a film. The critics both claim that Fukunagas great success in the final product is
attributable to the marriage of the directing, scripting, as well as cinematography. Regards to his
past successes work as the directors ethos, which coincidentally enough both critics mentioned;
Fukunaga also directed the widely acclaimed Sin Nombre. Also, Bronts Jane Eyre is a long
and complex novel, which means that script writer, Moira Buffini, had to make some
considerable adjustments. Nonetheless Scott considers the script to be a splendid example of
how novels should be trimmed, and DSouza is also in favor of Buffinis sly script. Lastly, the
cinematography was admired by both Scott and DSouza; Scott comments on Adriano
Goldmans (cinematographer) painterly eye and DSouza praises his velvety cinematography.
According to both critics, the directing, scripting, and cinematography all meshed harmoniously
to deliver the 2011 adaptation of the classic.

Personally, I love the movie. Fukunagas Jane Eyre is one of the few that I will watch
repeatedly, yet feel moved every time. Contradictory to what I am accustomed to, I sought out
the novel after having watched the movie. This literary masterpiece is one of the rare pieces that
has the capability of embedding itself into the reader. Having read the classic and watched the
movie, I can appreciate both as stand alone works of art without discrediting their obvious links.
Whether A.O. Scott and Karen DSouza also read the novel is unclear, nonetheless in their
reviews a difference in diction is apparent as is the synonymous praise for Wasikowskas
performance and the adaptation of the novel.

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Works Cited
"Bertha Rochester." Peachy Reviews. Wordpress, 22 July 2011. Web. 19 Oct. 2014.
<http://marspeach.wordpress.com/2013/07/22/jane-eyre-2011/>.
D'Souza, Karen. "Review: A stirring new 'Jane Eyre.'" San Jose Mercury News. San Jose
Mercury News, 24 Mar. 2011. Web. 14 Oct. 2014.
<http://www.mercurynews.com/movies-dvd/ci_17685072>.
Scott, A.O. "Radiant Spirit Blossoms in Barren Land." International New York Times. New York
Times, 10 Mar. 2011. Web. 14 Oct. 2014.
<http://www.nytimes.com/2011/03/11/movies/jane-eyre-starring-mia-wasikowskareview.html?ref=movies&_r=2&>.