Joan Fontaine and Orson Welles star in “Jane Eyre”: The Ultimate Gothic Romance

Jane Eyre (1943) is a gothic romance directed by Robert Stevenson and starring Orson Welles and Joan Fontaine. Based on the classic novel by Charlotte Bronte, the screenplay was written by John Houseman, Aldous Huxley, and Robert Stevenson. Bernard Herrmann wrote the film score.

The plot concerns Jane Eyre, an orphan educated at Lowood, a charity institution for young girls run with brutal discipline by Mr. Brocklehurst. When Jane reaches adulthood, she advertises for a job as a governess. Edward Rochester hires her through his housekeeper Mrs. Fairfax, who at first, Jane believes to be the mistress of the house. Jane enjoys her job as governess to Adele, Mr. Rochester’s ward. Despite Mr. Rochester’s sometimes-surly behavior, Jane finds herself drawn to him. As their relationship becomes love, a secret from Rochester’s past threatens to doom them both.

Jane Eyre was filmed entirely on the sound stages at 20th Century-Fox.

Robert Stevenson (1905 – 1986) was an English film director, screenwriter, and actor. Producer David O. Selznick brought him to Hollywood where he loaned out his services as a director to other studios. In Hollywood, Stevenson directed Tom Brown’s School Days (1940), Back Street (1941) starring Charles Boyer and Margaret Sullavan, Joan of Paris (1942) starring Michele Morgan, and Dishonored Lady starring Hedy Lamarr (1947). Stevenson also directed many episodes of top television series including Gunsmoke, Jane Wyman Presents The Fireside Theatre, and Alfred Hitchcock Presents. Stevenson really hit his stride when he began working for the Walt Disney Studios. At Disney, he directed Johnny Tremain (1957), Old Yeller (1957), Darby O’Gill and the Little People (1959), Kidnapped (1960), The Absent-Minded Professor (1961), In Search of the Castaways (1962), The Love Bug (1968), and two of my favorites, The Misadventures of Merlin Jones (1964) and The Monkey’s Uncle (1965). None of the above Disney classics could compare, however, to the huge success of Mary Poppins (1964) which went on to win five Oscars. Stevenson directed Hayley Mills in That Darn Cat! (1965), her last movie under contract with Disney. In 1977, Variety reported that Stevenson was “the most commercially successful director in the history of films. Stevenson became an American citizen during World War II and was in the U.S. Army Signal Corps with director Frank Capra.

Orson Welles (1915- 1985) was an American actor, writer, director, and producer. He is considered one of the greatest filmmakers of all time, with Citizen Kane (1941) considered by many to be the greatest film of all time. Welles got his start on the stage. He formed the Mercury Theatre with John Houseman in 1937. Many of the actors from his repertory theatre starred in his first two films. Welles had a reputation for being difficult and undisciplined which contributed to his low output of films. In spite of all that, his reputation as a Hollywood genius remains untarnished.

Joan Fontaine (1917 – 2013) was a British-American actress who starred in more than 45 films during Hollywood’s “Golden Age.” After secondary roles in Gunga Din (1939) and The Women (1939), her fortunes turned with her starring role in Alfred Hitchcock’s first American film, Rebecca (1940). She was nominated for Best Actress for her role in that film but lost to Ginger Rogers. The next year, she worked with Hitchcock again in Suspicion and this time won the Best Actress Oscar, beating out her older sister Olivia de Havilland. She received a third and final nomination for The Constant Nymph (1943). Other popular Fontaine films include This Above All (1942), From This Day Forward (1946), Ivy (1947), Letter from an Unknown Woman (1948), The Emperor Waltz (1948), and Ivanhoe (1952). After the late-1950s, she appeared less in films and more on stage and television. Fontaine and her sister are the only siblings to have won major acting Academy Awards.

Helen (Elizabeth Taylor) has her hair cut by Mr. Brocklehurst much to
Jane’s (Peggy Ann Garner ) dismay.

Others in the cast include Margaret O’Brien as Adele, Peggy Ann Garner as the young Jane, Agnes Moorehead as Mrs. Reed, John Sutton as Dr. Rivers, Henry Daniell as Mr. Brocklehurst, Edith Barrett as Mrs. Fairfax, and Sara Allgood as Bessie. An eleven-year-old Elizabeth Taylor plays Jane’s childhood friend at Lowood. So unknown was Taylor at this time that she didn’t receive on-screen billing. Both Taylor and Margaret O’Brien were loaned from their home studio, M-G-M to Fox for their work in Jane Eyre.

Jane Eyre trivia:

• Director Robert Stevenson was a member of the Bronte Society.
• Composer Bernard Herrmann would go onto writing an operatic version of Emily Bronte’s Wuthering Heights.
• Character actress Ethel Griffies (Grace Poole) played the same character in the 1934 film version.
• Olivia de Havilland portrayed Charlotte Bronte (author of Jane Eyre) in Devotion (1946).

Click HERE to watch the film on YouTube, click the link below.

Click HERE to join us on Zoom for a discussion of the film on August  5, 2024, at 6:30 p.m. Central Time. Once you RSVP, you will receive an invitation and link to the Zoom meeting.

Questions for discussion:

1. Why do you think there have been literally dozens of film and television adaptations of Charlotte Bronte’s novel?
2. Have you seen other film adaptations of Jane Eyre? How do they compare and contrast to the 1943 version?
3. Were Joan Fontaine and Orson Welles well cast as Jane and Mr. Rochester?
4. Did anything about the film or its production surprise you?
5. Did you have a favorite character actor in the film?

Classic Movie Man’s Top Posts of 2011

The Year in Review
As 2011 comes to a close, I thought it would be fun to revisit the top-ten posts of the year. We lost some classic movie legends, including Elizabeth Taylor and Farley Granger. This year, Classic Movie Man taught another film class at Facets Film School: Elegant and Madcap: The Incredible Versatility of Irene Dunne. It was great fun introducing this remarkable actress and movie star to folks who were not familiar with her body of work.

Below are the top-ten Classic Movie Man posts for 2011. Are any of your favorites on this list?

Number 10—Classic Movie Man’s Guilty Pleasure: “Devotion” This fictionalization of the lives of the Brontë sisters was short on the facts (according to critics of the day), but is great melodrama with Ida Lupino as Emily and Olivia de Haviland as Charlotte. Paul Henried, Nancy Coleman, and Arthur Kennedy round out the talented cast. The film score by Erich Wolfgand Korngold is lush and beautiful, as is the movie’s overall production.

Number 9—Jeanne Crain: More Than Just a Pretty Face. A personal favorite of mine, Crain was one of the most popular movie stars during the late-1940s to early-1950s. So popular was Crain that when she passed away in 2003, Turner Classic Movies’ Robert Osborn called her “the Julia Roberts of the day.” She appeared in some great films, including A Letter to Three Wives, Apartment for Peggy, and Pinky, the latter earning Crain her only Academy Award nomination for Best Actress.

Fred MacMurray

Number 8—Farley Granger, star of Hitchcock’s “Strangers on a Train.” Granger was a product of the Hollywood dream factory. Plucked from obscurity and signed to a movie contract by Samuel Goldwyn, he was featured in some popular films during the mid-1940s like The Purple Heart and The North Star. While under contract to Goldwyn, Granger’s best roles were a result of being loaned out to other studios. Two of his most famous films, Rope and Strangers on a Train both directed by Alfred Hitchcock, were made on loan to Warner Bros.

Number 7—Fred MacMurray: Nice-Guy Movie Star. Mostly remembered today for his iconic TV role as Steven Douglas in My Three Sons, MacMurray had a substantial movie career. In fact, MacMurray was the highest paid movie star in the world in 1943.

Number 6—Ida Lupino: A Lasting Legacy in Hollywood. Lupino not only was a great movie star, but she was a writer, director, and producer of independent films in the late-1940s and 50s. She was one of the only women directors working in Hollywood, directing classic TV episodes of The Twilight Zone, Alfred Hitchcock Presents, and The Untouchables. In 1966, Lupino finally got a big budget production to direct: The classic comedy The Trouble With Angels starring Rosalind Russell and Halley Mills.

Number 5—Classic Movie Man’s Guilty Pleasure: “Elephant Walk.” This action-adventure melodrama starred a very young Elizabeth Taylor, Dana Andrews, and Peter Finch. Released in 1954, the main action takes place on a Ceylon tea plantation run by Finch. Feeling neglected, Taylor turns to overseer Andrews. Some great color cinematography and those stampeding elephants make this a fun movie to watch.

A lovely studio portrait of the very lovely Joan Bennett

Number 4—“Jane Eyre”: A Golden Age Classic. One of my favorite classic films, I thought a review was in order when a new version by director Cary Fukunaga released this past spring. Featuring beatuiful black and white cinematography and a wonderful performance from Joan Fontaine as Jane. Orson Welles is a little over-the-top as Rochester, but it doesn’t take anything away from the overall production. It also features a young unbilled Elizabeth Taylor as Jane’s doomed childhood friend Helen.

Number 3—Joan Bennett: Almost Scarlet O’Hara, But Always a Star. Bennett almost snagged the role of Scarlet O’Hara, but she got over that disappointment fairly quickly. She starred in musicals, comedies, and dramas, becoming one of the screen’s great femme fatales. Bennett gave terrific performances in three films directed by Fritz Lang: Man Hunt, Scarlet Street, and The Woman in the Window. After her movie glory days were over, she became a pop-culture icon as Elizabeth Collins Stoddard in daytime TV’s Gothic soap opera Dark Shadows. She was also one of the few actresses who could realistically play mother to Elizabeth Taylor (she physically looked as beautiful). She did this twice in Father of the Bride and Father’s Little Dividend.

Elizabeth Taylor

Number 2—This Island Earth: 1950s Science Fiction Classic. One of the best flying saucer flicks, the film benefits from a decent script, great special effects, and more than competent performances by the three lead performers: Rex Reason, Faith Domergue, and Jeff Morrow.

Number 1—Elizabeth Taylor: Born To Be a Star. With Taylor’s passing, an era passed with her. One of the last great movie stars to come out of the studio system, she epitomized Hollywood style and glamour. Her beautiful looks notwithstanding, Taylor gave some memorable screen performances and won two Best Actress Academy Awards during her long career. As famous for her well-publicized off-screen life, she was the quintessential movie star.

Thanks for reading the Classic Movie Man blog in 2011. I hope you’ll continue to read and follow this blog into 2012 and beyond!

"Jane Eyre": A Golden Age Classic

A recent article in The New York Times featured a story on the new film version of Jane Eyre directed by Cary Fukunaga. Charlotte Brontë’s novel, first published in 1847, has been filmed at least 18 times, according to Charles McGrath, the author of the Times piece. Brontë’s classic Gothic romance set the standard, and in many cases the rules, for romantic literature. So it isn’t hard to understand why the story of a poor orphan girl who ultimately finds love and happiness has fascinated filmmakers and filmgoers alike for generations.

Huxley, Houseman, and Stevenson
It’s interesting to note that Fukunaga grew up watching the 1943 film version directed by Robert Stevenson starring Orson Welles as Rochester and Joan Fontaine as Jane. Like Fukunaga’s version, it’s not a strict adaptation of the novel. The screenplay written by Aldous Huxley, John Houseman, and Stevenson has a literary quality that captures both the novel’s spirit and tone. That literary quality is bolstered by the extraordinary black and white cinematography by George Barnes, who framed every scene as if it were a painting.

Peggy Ann Garner, as the young Jane, takes her punishment at Lowood School

“Desperately Appealing”
Peggy Ann Garner plays the young Jane who is sent to Lowood School by her cruel Aunt Reed, played by Agnes Moorehead. Young Jane’s sad experiences at the strict boarding school are heartbreaking. Under the tyrannical leadership of schoolmaster Mr. Brocklehurst (Henry Daniell), Jane and her friend Helen (played by an unbilled Elizabeth Taylor), are exposed to many indignities. The performances in these early scenes are very affecting. Bosley Crowther in The New York Times said Garner “…is desperately appealing as the tortured child, Jane, and Henry Daniell is monstrously sadistic as her evil schoolmaster.”

Although her looks were downplayed, Joan Fontaine still made a beautiful Jane Eyre.

When Jane becomes an adult (Fontaine), she decides to make her own way in the world as a governess. When she arrives at Thornfield Hall, Jane is overwhelmed by the estate, but intrigued by her new master, Mr. Rochester (Welles). Hired as a governess for Adele Varens (Margaret O’Brien), Jane is conscientious and caring.

The studio reused old sets and props to give Jane Eyre its rich look.

Creativity on a Budget
The film shot during World War II was constrained by the budget limitations that the studio imposed on the production team. By recycling older sets and using props and furnishings on hand at Twentieth Century Fox, the producers created an atmosphere that is both lush and mysterious. The deep shadows and sharp focus give the film its unique texture; it’s the Hollywood dream factory at its creative peak.

The movie title in the opening credits was stamped on a book.

The Novel Version
Part of the appeal of the novel is the voice of the narrator, Jane. The 1943 film starts out with a shot of the first page of Jane Eyre with Fontaine’s voice-over reading of the text. Unlike the novel, where Jane is clearly the main character, Rochester is given almost equal status in the Stevenson version. As played by Welles, Brontë’s brooding hero is bigger than life; if he had been paired with a less competent actress, his characterization might have overshadowed Fontaine's Jane.  

Joan Fontaine won an Academy Award for her role in Suspicion costarring Cary Grant.

Fontaine on a Roll
Jane Eyre was Fontaine’s fourth major film role after her breakout performance in Alfred Hitchcock’s Rebecca (1940). An Oscar winner for another Hitchcock classic, Suspicion(1941), Fontaine’s career was flying high. Welles on the other hand was no longer the boy wonder of Hollywood. RKO suspended his contract, which almost put it out of business. Welles’s overspending on the back-to-back financial failures Citizen Kane and The Magnificent Ambersons greatly lowered his marketability in Hollywood. It’s somewhat amazing that he was offered the role of Rochester and even more amazing that he would get top billing over the more famous Fontaine, who played the title character!

Orson Welles as Mr. Rochester and Fontaine as Jane Eyre

Stevenson Was in Control of Jane Eyre
Much has been said about Welles’s influence on the film’s production, some suggesting that he was really the director. According to Fontaine's memoir, No Bed of Roses she discounted that notion. Fontaine said that slowly, but surely, Stevenson took charge of the film in spite of Welles’s attempts to run the show. Stevenson had a distinguished directorial career that goes back to the early 1930s. His films from the studio period include the 1941 version of Back Street starring Charles Boyer and Margaret Sullavan. He directed many major movie stars including the likes of Robert Mitchum and Ava Gardner. Stevenson really hit his stride when he signed on with Walt Disney. Stevenson’s first three films for Disney are considered classics, including Johnny Tremain and Old Yeller (both 1957) and Darby O’Gill and the Little People (1959), which featured a young Sean Connery. He reached his box office and creative peak with the Oscar-winning Mary Poppins (1964). Stevenson’s output at Disney made him one of the most commercially successful directors during the 1960s and 1970s.

Director Robert Stevenson around the time Jane Eyre was being filmed

Timeless Appeal
I think the reason the Stevenson version is so successful is the way it expresses the longing and yearning of the main characters in their search for love and acceptance. Fontaine’s Jane is vulnerable, but strong; you identify with her ultimate goodness of character. Through Fontaine’s characterization her yearning becomes our yearning; we want her to find happiness. If Welles’s Rochester is a bit over-the-top, Fontaine’s more subtle performance evens things out. In spite of the overpowering Welles, it’s still Fontaine’s picture. Jane Eyre is the star and we do love Jane.