Mu Xin said that "Jane Eyre" is a good textbook for love. If you don't understand it and don't like to read it, then it is an outsider of love. And it can be judged that he is a bad person and has no prospects. In 2006, the BBC launched a four-episode mini-series "Jane Eyre" based on Charlotte Blondy's novel. The rhythm of the drama is steadily advancing, the interpretation of the characters is flesh and blood, and the logic is reasonable. I can't help feeling a little drunk across the screen... In the story of four episodes, Jane Eyre seems to have experienced the four seasons of life: the confusion in winter, the sprouting of spring, and the sprouting of summer. All things grow and eventually mature in autumn. In sexual relations, social relations, and spirituality, she has grown from an independent orphan to an independent mature woman with vitality. Her emotions and mind show a change in flow. This dynamic growth and maturity is more delicate, real, logical and aesthetic, just like waiting for a new bottle of red wine to ferment, change color and settle in the flow of time. Be a bottle of mellow wine. In the first episode, entering the society is like going to sea in winter, the road is unfamiliar and far, and the future of life cannot be seen in the winter fog of Thornfield Manor; in the second episode, Rochester's gentle and equal treatment gave her a "home "The warmth of ", the two have a good impression of each other, her heart is sprouting, and the deer collide; several times of "fighting the fire" doubled the mutual understanding and attachment; the third episode, two months after leaving Thornfield, each love for the other is more clear And strong, she agreed to his marriage proposal, but found out the fact that "he is married" at a critical moment; in the fourth episode, in the dilemma of reason and emotion, she chose to escape from Thornfield, but in the end she obeyed the call of her heart Handed over to fiery love. There is nothing in this world that I want to possess, any misfortune I have suffered, I have forgotten, and it does not embarrass me to think that I am alone now. There was no pain in me, straightened up, and I saw dear Thornfield. The role of Jane Eyre was Ruth Wilson's first major role since graduating from drama school. Her handling of subtle emotions is steady, accurate, and ruthless. Countless close-ups and close-ups of her expressions, the control and presentation of her movements make you have no doubt that she is Jane Eyre, and Jane Eyre is her. Alan Rickman, who played Professor Ris Snape in the film "Harry Potter", once said: "Actors are the carriers of change. A film, a play, a piece of music, a book A good book can bring about change." In the first episode, when the two sat by the river and chatted about Adele's life, Rochester saw Jane's expression and said, "Your expression, without judgment, without mercy, is like this. His expression can probe into the secrets of the dark soul." Please look back carefully at Ruth's expression to see if it fits exactly with his description. After saving Rochester that night, she sat in a daze without thinking about food or tea, and her cheeks were hot, which was exactly the state of a young girl. After hearing about the beautiful Miss Blanche Engham, she said to herself in the mirror, "You are mistaken!" Then she drew two portraits of herself and Blanche, trying to intellectually kill her inner stupidity "fantasy". Loss, confusion, low self-esteem, and longing began to bite her, making her sleepless. Rochester played all kinds of "intelligence" and "tricks" with her, deliberately soliciting her opinion on whether Blanche was the right person for his bride, recruiting a gypsy girl to "fortune-telling" for her, and saying that she must leave, and that she should Ireland found a job as a tutor, etc., and "tortured" Jane to tears, crying to the point of being out of shape: "Who do you think I am? I wish I hadn't been born in this world, I wish I hadn't come Here, I wish I never fell in love with Thornfield. I love Thornfield, I love it, because I live here to the fullest, I'm not trampled, I'm treated as an equal, and you treat me as an equal. You are my see The best person I've ever lived. I can't bear the pain of leaving you... Do you think I'm poor, low, plain, short, that I have no soul and no heart? You are wrong! My soul is the same as yours, I My heart is exactly the same as yours! If God gave me wealth and beauty, I would make it as hard for you to leave me as it is for me to leave you now..." And Toby Stephens' Rochester It is an ideal "green leaf": mature and experienced, soft and warm in the heart, respecting each other. He invited her into the study to "chat" with him; met him by the river in the manor and invited her to sit down, chatting about Adela's life and his past, like two intimate "friends"; he called her "" Jane," would plead sadly: "Jane, don't go!" The night before she escaped from Thornfield, he did not take the opportunity to "seduce" her, but tried to persuade her to stay; as after she returned to Thornfield The two were by the river, Rochester said: "Jane, I want a wife, I want a wife, not a babysitter to take care of me. I want a wife who sleeps with me at night, and sleeps a whole night if we want. God. If not, I'd rather die." Who wouldn't want to have such a "Rochester"? But how many people can accept the handicapped and blind "Rochester"? Only Jane Eyre said to him: "I love you until I die; as long as I live, I will never leave you." It must be admitted that Jane and Rochester, played by Ruth and Toby, radiated realistic vitality and aesthetics The contagious power on the top completely conquered me. After careful inspection, I found that Toby turned out to be the son of the Countess Maggie Smith. Ruth Wilson was a complete stranger, but her performance of Jane Eyre prompted me to watch her interpretation of her grandmother's three-episode miniseries "Mrs. Wilson". All I can say is: Powerful, Five-body cast. In 2011, Cary Fukunaga directed the film version of Jane Eyre, which has to be compared to the BBC's change. The former's flashback and interspersed narrative style, the open and cold atmosphere with a slightly Nordic feel, the combination of handsome men and beautiful women, and the use of long-term perspectives in a large space make the work very "eye-catching", but not distracting. The emotional logic of the characters is abrupt, the acting skills of the actors are weak, and the two hours cannot make the characters grow bloody. The language expression is colloquial, and the British accent is discarded. Wang Zengqi said: "Language is like a tree. The sap flows inside the branches. One branch shakes and a hundred branches shake. Language is like water and cannot be cut. The language of a work is an organic whole." Perhaps Kerry Fuyong did not intend to create a A British classic, just a fast-food love story that pleases an international audience in his own distinct style... Fukunaga directed the film version of "Jane Eyre" and had to compare it to the BBC's change. The former's flashback and interspersed narrative style, the open and cold atmosphere with a slightly Nordic feel, the combination of handsome men and beautiful women, and the use of long-term perspectives in a large space make the work very "eye-catching", but not distracting. The emotional logic of the characters is abrupt, the acting skills of the actors are weak, and the two hours cannot make the characters grow bloody. The language expression is colloquial, and the British accent is discarded. Wang Zengqi said: "Language is like a tree. The sap flows inside the branches. One branch shakes, and a hundred branches shake. Language is like water and cannot be cut. The language of a work is an organic whole." Perhaps Kerry Fuyong did not intend to create a A British classic, just a fast-food love story that pleases an international audience in his own distinct style... Fukunaga directed the film version of "Jane Eyre" and had to compare it to the BBC's change. The former's flashback and interspersed narrative style, the open and cold atmosphere with a slightly Nordic feel, the combination of handsome men and beautiful women, and the use of long-term perspectives in a large space make the work very "eye-catching", but not distracting. The emotional logic of the characters is abrupt, the acting skills of the actors are weak, and the two hours cannot make the characters grow bloody. The language expression is colloquial, and the British accent is discarded. Wang Zengqi said: "Language is like a tree. The sap flows inside the branches. One branch shakes and a hundred branches shake. Language is like water and cannot be cut. The language of a work is an organic whole." Perhaps Kerry Fuyong did not intend to create a A British classic, just a fast-food love story that pleases an international audience in his own distinct style...
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