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Description: Zagreb. A family: Ana, the mother, Katarina, Tvrtko and Drazen, her three grown up children, and Tvrtko's girlfriend Natasa. The storyline starts in the morning when Natasa, after a quarrel with her boyfriend, comes back home, a two-bedroom apartment where her mother and brothers live. This brings a tiny bit of confusion in the family's daily schedule. Through many dialogues we receive acquainted with the members of the family, their private issues and frustrations and their interesting and sometimes strained relations with no serious difficult feelings, though, their largest trouble being the financial inability to transport away and begin living on their own.
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Description: The Lost Daughter novel follows Leda who, while on a vacation by the sea, experiences a seemingly meaningless happening that causes her to be overwhelmed by memories of the hard and unconventional choices she made as a mother and their consequences for herself and her family. What starts as an apparently serene tale of a woman’s pleasant rediscovery of herself later becomes a ferocious psychological thriller about a confrontation with an unsettled past.
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This 1997 TV production is named "Jane Eyre", but except for a similarity to the plot of the novel there is preciously tiny in this movie to remind you that you are indeed watching an adaptation of Charlotte Brontë's literary masterpiece. How they managed to receive each single hero of the novel wrong - except for Pilot, who is well cast - is a finished mystery to me, but they did. This is the more a pity because with Samantha Morton and Ciaràn Hinds they had two nice actors, who even physically fit their roles well, but, alas, the best talent is of no avail when the idea of the characters is as wrong as in this adaptation. Samantha Morton - young, delicate and plain enough - looks like Jane Eyre, but does not enjoy Jane Eyre. Her Jane is far too bold, even disrespectful at times, self-confident and self-satisfied, bossy and pert. Gone is the interesting duality of Jane's hero in the novel, her outward shyness, guardedness and modesty on the one hand and her fire and passion on the other. Morton's Jane speaks her mind boldly right from the beginning and never stops doing so throughout the film. There is no subtlety in her performance, her Jane undergoes no change and no development. The same is sadly also real for the hero of Mr. Rochester. Trust it or not, but they indeed managed to turn one of the most interesting and complex figures of English literature into a brute and a bully. Luckily Ciaràn Hinds possesses some charisma, but otherwise nothing urls him to the eloquent and fascinating hero of the novel. Not the slightest attempt was made to discover the depths of Rochester's character, his many contradicting facets, his moodiness, his inner struggle, his humour and his tenderness. The Rochester of the novel is admittedly insolent and harsh at times, but never the unrefined, snarling brute Ciaràn Hinds makes him. Yet Hinds is even worse at testing the loving Rochester, and the only feeling he manages to convey is lust.Unfortunately the misrepresentation of the characters is not limited to the leading roles: Blanche, besides being blonde, is not in the least haughty enough, not to mention the fact that she is great to Adèle, St. John is all smiles and kindness, and the role of Mrs. Fairfax has been unnecessarily puffed up, probably due to the fact that she is played by dear Gemma Jones. Yet some scenes less with Mrs. Fairfax fussing around and some scenes more between Jane and Rochester would have been very useful to create the audience understand why the two latter fall in love in the first place.As far as language is concerned this production is other victim of the delusion of some scriptwriters who either think that they can improve on Charlotte Brontë's brilliant language or that her 19th century English has to be simplified to become digestible for a modern audience. The effect is that the dialogues are severely changed or replaced by the scriptwriter's own banal lines. In either situation they have lost all the charm, sparkle and brilliance of the dialogues in the novel. Terrible misguided scriptwriter Richard Hawley even deemed it important to create Rochester introduce one of his most popular lines - the line about the string that inextricably binds Jane and him together - with the words: "I know it may sound silly but...." No, Mr. Hawley, if somebody sounds silly here, it is definitely NOT Charlotte Brontë! Other capital error of judgement - and unfortunately also an insult to nice taste - is the method they rewrote the farewell stage between Jane and Rochester after the aborted wedding, a scene, by the by, which in all the modern adaptations has received a particularly brutal treatment. Whereas in the recent Jane Eyre production of 2006 that stage was an outrage to Charlotte Brontë's Jane, the method the stage is handled in this adaptation is an outrage to Charlotte Brontë's Rochester. What? Rochester insulting Jane when she intends to leave him, bullying her, throwing her suitcase over the banister and saying her to go if she does not love him enough to stay? Absolutely ridiculous! It is difficult to imagine what has gotten into the filmmakers to produce such rubbish as this.This is the worst, but there are many others scenes which are similarly absurd and ludicrous: the first stage of Rochester galloping in slow motion through the mist before he falls into a brook, Grace Poole coming out of the lunatic's room to sniff at Mason's wounds like a wild beast, Rochester sitting on the top of an archway of Thornfield as if he were the court jester and Mason jumping on horseback over the church fence to prevent a marriage of which he has heard only heavens knows how.Equally lamentable is the filmmakers' inability to represent the correct social behaviour of the 1850ies. Rochester and Jane are far too disrespectful to every another at first and soon far too hot. Sentences like "I feel that your passions are aroused" are appropriate for "Sex in the City", but not for a costume drama, allow alone Jane Eyre. Obviously the filmmakers decided not to bother at all - neither about being real to the novel, nor about portraying the novel's era accurately. The effect is a sad failure - both as a movie and an adaptation of Jane Eyre. The only fact with which the makers of this Jane Eyre can console themselves is that the BBC failed even worse in the subsequent production of Jane Eyre in 2006.
The folks who wrote this miniseries clearly read the Cliff's Notes instead of the book. I've read "Jane Eyre" half a dozen times; I turned this film off maybe halfway through. I spent most of the time marveling at how the producers skipped over classic lines and moments from the ebook to invent dialogue.They glossed over Jane's early days -- her childhood and time at school -- and then rewrote the love story. The method Jane meets Rochester is wrong. His feelings about his French ward and the storyline behind her are wrong. The interactions among characters are wrong.See, what the filmmakers forgot is that the characters in this ebook have a powerful sense of propriety. They are formal. Ranks mattered, and folks behaved accordingly -- the passionate yet meek Jane and the moody yet tractable Mr. Rochester never forget their stations, and that influences their interactions. Samantha Morton's Jane is outrageously insubordinate and demanding from the moment she formally meets Rochester. It's simply out of character. Ciaran Hinds plays a decent Mr. Rochester, but he lays on the Grade-A jerk too heavily. Rochester isn't mean to Jane even if he is a bit gruff. Even the minor characters don't look the part. The greatest casting is Gemma Jones as kindly Mrs. Fairfax; she does a nice job.I've everytime believed that movie adaptations of ebooks could honor the originals and follow them as closely as possible. You shouldn't take the characters and alter them to fit your audience, you shouldn't invent parts just to suit your needs, and you shouldn't slash parts for the same reason. This ebook has endured for more than a hundred years; it clearly has something going for it. Why mess with that? If you have read "Jane Eyre," this film is extremely disappointing. If you haven't read the book, it's not much better. The filmmakers receive to the love storyline as quickly as possible, but Morton and Hinds lack chemistry, and their scenes of passion are now quite funny.Give this one a miss.
The recent A&E production of Jane Eyre was short but satisfying. While it might have benefited from being longer, they managed to say the primary storyline and retain the emotional impact. Unless you're an unforgiving purist, the cuts shouldn't detract from your appreciation of the movie. And if you are an unforgiving purist (there is nothing wrong with that), go search a copy of the Timothy Dalton '83 adaptation.The largest mission of contention seems to be the performance styles. Peoples' takes on the method Mr. Rochester could be played tend to vary. I've seen the productions with William Harm and George C. Scott criticized for having a Rochester who was so restrained he might as well have been the heroine in a Jane Austin novel. These folks felt Rochester could be played passionately and with fire. After all, he's a manipulative would-be bigamist. Then there are folks who feel Hinds was too wild in his portrayal of Rochester and a more restrained, subtle approach was warranted.If you wish a restrained, subtle Rochester, don't watch this ver or the Timothy Dalton BBC production from '83. Go for the William Harm or George C. Scott adaptations of Jane Eyre. If you're like me and you'd prefer a wilder Rochester, you'll probably play both the '97 A&E and '83 BBC productions.
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