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I'm Cally Crossley This is the Cali Crossley Show. Charlotte Bronte is classic Jane Eyre was published over 150 years ago. Since it rolled off the printing press no one has been able to keep their hands off it. It's been reincarnated as a radio play tuned up as a musical redrawn as a graphic novel and prequels and sequels have also been pinned. It's live nine lives on the small screen and graced the silver screen close to 20 times. It seems an unwritten rule that every few years a director or producer does the classic off and brings new life into it by way of the big screen with the latest film integration hitting Boston's movie houses. This hour we'll look at why Brontes take on love passion social class forgiveness and atonement never grow old. Not to mention the everlasting power of that obscure plain and little protagonist Jane Eyre. Up next the Jane of our existence. First the news. From NPR News in Washington I'm Lakshmi saying Libyan leader Moammar Gadhafi

has tanks and snipers in the last key city still under rebel control in western Libya. Residents in Misrata say nine more people were killed this morning including four children gunned down by snipers. This comes on the heels of heavy attacks there in other parts of Libya including Tripoli government spokesman Mussa Ibrahim told Sky News that he believes allied airstrikes are responsible for a number of civilian casualties in the capital last night. A lot of them waiting for the official figures because many of the targets last night were civilian and military places like ports and harbors used by fisherman and civilian employees. With the army as well west and east of Jubilee. Now that the French aircraft carrier Charles de Gaulle is in Libyan waters France has more firepower to enforce the UN's no fly zone from Paris Eleanor Beardsley reports military planes are flying daily over Libya from eight air bases across France. French general Phillipe says a nuclear powered aircraft carrier Charles de Gaulle will contribute

firepower and intelligence gathering to the mission so it will have more capabilities and those capabilities will be cheaper oil closer to Libya so it's easier for us to intervene and to react coalition forces bombarded Libya for a third straight night targeting the air defenses and forces of Libyan ruler Moammar Gadhafi. The military action has stopped the advance of Gadhafi's troops and handed momentum back to the rebels who are on the verge of defeat just last week. For NPR News I'm Eleanor Beardsley in Paris. Two American service members whose F-16 fighter jet crashed last night in eastern Libya are said to be back in U.S. hands. The U.S. military says it believes a mechanical issue and not hostile fire was a factor. The recent UN vote that authorized an internationally imposed no fly zone over Libya does not have support from China or Russia both of whom abstain. Instead they're calling for a ceasefire. As NPR's Ofeibea Quist arc to report some African leaders are also very critical of the airstrikes.

Veteran Zimbabwean President Robert Mugabe says the U.N. Security Council resolution authorizing military action in Libya should never have been passed. Pointing fingers at the West Mugabe says there's more to the decision than just wanting to protect civilians but it would actually watch it that he accepted God. It is no great make you know and there is a solution even though the same mistake we've made. We should never have given it wish to know we're there to let you contact us past this. Try going to Congress people. That's because under God happy Zimbabwe has benefited deals in the hospitality and agriculture industries. We stopped and NPR News. I'd be shocked. At last check on Wall Street the Dow is down 13 points to twelve thousand twenty four. Nasdaq composite index off eight points at two thousand six hundred eighty four. This is NPR News. A governor in Syria is now fired as a result of a government crackdown that killed seven protesters. Demonstrations inspired by uprisings across the Arab world started Friday in Iran they

turn violent as security forces fired on demonstrators. Justice Department leaders are meeting with police chiefs about the rising number of deaths in law enforcement. Forty nine officers have been killed so far this year many because of gun violence. NPR's Carrie Johnson says federal authorities are asking what can they do to help. Attorney General Eric Holder invited almost three dozen police chiefs to meet with top federal officials in Washington. They're talking about ways to reduce downs of law enforcement officers killed in the line of duty. Twenty three officers have been killed by gunfire this year including five federal officers. The attorney general says they're considering what they can do under current law to try to reduce those numbers. He's directing U.S. attorneys to make the issue a priority and he wants prosecutors to meet with police in their states to offer help. Carrie Johnson NPR News Washington. The men accused in a series of rapes along the East Coast is pleading not guilty. Aaron Thomas entered his plea in court today in Connecticut on a charge that he

raped a woman in New Haven in 2007. The 39 year old defendant is also charged with three rapes in Virginia. Thomas was arrested earlier this month after authorities said DNA confirmed he was the man police were calling the East Coast Rapist. They believe he attacked 17 women since 1997. At last check on Wall Street the Dow was down nearly 20 at twelve thousand eighteen. I'm Lakshmi Singh NPR News in Washington. Support for NPR comes from Kauffman the foundation of entrepreneurship publisher of rules for growth at a u f f m e n dot org slash rules for growth. Good afternoon I'm Kalee Crossley. This is the Cali Crossley Show. That was from the 1934 1996 and 2011

film adaptations of Jane Eyre the novel by Charlotte Bronte. Rochester was respectively played by Col. and Clive William Hurt and Michael Fassbender and this is the Jane Eyre hour today. She's back one of the most beloved protagonists of all time poor obscure little Jane Eyre a new film adaptation of Charlotte Brontes classic is in the theaters now. And joining me to talk about how this stacks up against other film versions and the original text in book form are our contributors Guerin daily and Eugen Koh Guerin daily is a film critic Eugen Koh is a professor of English at Wellesley College. Welcome back you two for having me that I said hello there. Love it. Listeners We're taking your calls Who's your favorite Rochester Orson Welles Timothy Dalton Michael Fassbender the Rochester in the latest film. Does the book Trump all movies and TV series weigh in on the Jane Eyre conversation 8 7 7 3 0 1 8 9 seventy 8 7 7 3 0 1 8 0 9 7. You can send us a tweet or

question or comment to our Facebook page. Fellas I went to see the movie this weekend and it was packed as it should be. It should be really a good version. It is but before we even talk about that version let me just ask the two of you something that the question that comes up when we talk about how many film adaptations there have been of this great novel. Why does it endure. Well you know the snide waggish thing to say is because you don't have to pay the writer any royalty fees. That's ok film critic. You know why is it I know it's you know what what you need to do is you need to strip away all the costumes you need to strip away all the flowery language you need to strip away all of the the trappings of 19th century England because what you have is you have a story about a young woman coming into your own and finding true love. And that is really what it gets down to in its most basic form.

All right that was my Guerin daily film critic and our film contributor here at the Calla Crossley Show eugène Co. Why does this endure Why does Jane Eyre endure. I'm going to agree partially with Garan but raise a strong objection. I think a characterization of the language as flowery language I think the language is extremely powerful. And because it's still so powerful and so contemporary. Directors storytellers actresses are drawn to the role as our readers. It still resonates today because that language is not something of the past it's not the 19th century version of Laura Ashley prose it's prose that still speaks to us and an extremely powerful way and a very direct way. And to me that's what captures that's what makes it fascinating and that's what leads people to continually revisit this story. We're at 8 7 7 3 0 1 8 9 7 8 7 7 3 0 1 89 70.

The last person to speak was my cultural contributor eugenic who is a professor of English at Wellesley College and I just want to throw down the gauntlet here and say there's really not much you can tell me about Jane Eyre I love it. Love it. I can watch it a million times I can read it a billion times I agree with you didn't go I agree with with that Karen Daley let me ask you this. I mean I never liked Jane Eyre as a movie until I saw this one. And I would be really curious to see. Did you like the other versions which seem to me to focus in on the male. And I love the idea that they focused in on Jane this time and all of a sudden I got to Jane was I you know what I have to say again and I think that's a very important point. I love all the versions of it and will watch them over and over again including the Masterpiece Theater one that aired here in GBH some years ago which is beautiful and quite detailed. Back to your point huge in that version is longer so you get to hear more of the language. But one of the things about this version including what you've just said which I think is extremely important about the emphasis on Jane herself as the lead character and not so much Rochester

is that the writer of this film consciously tries to use the language from the novel in addition to some other contemporary language so I agree with you totally. The novel is about Jane Eyre it's her story by the way for those who've never read it it's told by her first person narrative. So it should be about her and this is the first time that it was achieved in that way I agree with you. Yeah. And I would also agree with you that that I think Jane's emotional inner life becomes the center of the film and it replicates the intimacy that we feel as readers with the first person narrative. But I want to now throw back the gauntlet spawn to the gauntlet by raising some objections to the novel that feminist critics in particular have raised one of which is that this is a coming of age story and it's about it's the story of a woman who discovers herself but to the end she cannot feel a sense of self

completion until she's reunited with a man. What do you make of that. Well I think you know you have to give some nod to the context this was you know Victorian age so I mean in that in the context that was going to be her life I think what makes it a feminist novel and also in this version very much a feminist adaptation is that she's strong within herself she knows what she wants and she makes absolutely certain that she makes that clear to Rochester that I'm I'm I'm a solid person I'm I'm a I'm a free person and I'll make my own decisions. So within the context of what the limited opportunities for women she was at the feminist in she was working by the way. So right away her just his choosing her is an amazing thing because that's not who we would have chosen. In Victorian England I'm going to be relentless. OK go ahead come after you. All right continue to come. I think everything that you said is true and indeed there is a feminist impulse a very very strong feminist impulse in the novel. And Jane explicitly connects

her sense of confinement as a woman with those who are rebelling against political oppression of her time. And so I understand that is all true. However it's also been suggested that Bertha Mason the mad woman is in some ways the admonitory opposite of Jane that is to say she's a warning for all that change should not be to be acceptable so Bertha is the figure of unbridled passion and unbridled anger especially at male authority. So so so some feminists have suggested that there is still a conservative element to the novel and so far as it distinguishes Bertha from Jane and makes the pathway to Rochester one that that diverges from Bertha. I hear what you're saying and I want to get back to Bertha a little bit later and some detail but I want to just you know go back to the first part of it which is you know whether or not guarantee in the end this victory in

time and if this filmmaker has achieved this to the balance of portraying Jane in a Victorian time where her op options were limited. But at the same time I really felt in this version she's powerful. She's probably because she's not willing to accept Rochester on his terms. You know she's accepting him only on her terms. But I'll take it a slightly further I think that all the characters all the main characters all the featured characters in the movie except for Jane are incredibly flawed. You take a look at Mr. BROCKLEHURST you take a look at synch and reverse. You take a look at Rochester. You take a look at the at the housekeeper you take a look at the woman who's guarding Bertha and you look at Bertha they're all much more flawed characters and I think when you take the totality of the characters and put Jane in the middle she is almost like the eye of the storm. She's calm she understands where she needs to go to move forward in this world that she's living in.

But what I the way I would respond now I want to say I'm playing devil's advocate because I love to shop. Yeah yeah. I'm just now OK. Right OK. And we all went out and you know tears were welling up in my eyes again when I saw the movie and every time I read it I had the same reaction but I want to say that the characters whom you mention are flawed in a particular way. There they are all figures of enforcers of patriarchal authority or group and that patriarchal authority is left intact in certain respects not in every respect but in certain respects. So the system the gene is rebelling against as a young feminist remains intact even if some of the circumstances have changed which has enabled her to marry somebody of a much higher social status. So do you think let me let me just give a call out to our listeners. 8 7 7 3 0 1 8 9 7 8 7 7 3 0 1 89 70. That was my guess eugène co our cultural contributor he says he loves the novel but maybe she's not a feminist.

Call a man if you think differently. Gary Daly our film. Critically Yeah contributor is going to respond to that go ahead get I just wondering I mean do you think that ultimately the novel and the movie are flawed because I mean because I think that's I think that's almost a little nitpicky because when you look at who she is in the context of her society and the fact that she has become such an iconic female for so many women for so many generations means that it's hitting a resonant chord and it's hitting something very almost primal. Yeah. And to get back to that and I'll give the flip side of the argument and this was first articulated very famously and in the 80s by 2000 as critics named Sandra Gilbert and Susan Gubar in a book called The Madwoman in the attic a reference of obviously to Bertha and their view is that even as the novel sets up Jane and birth as opposites it continually associates the two of them they're both confined right in the red room and in the attic

they're both figures of passion and they both possess a great deal of anger and in some ways a birth and they don't want to I want Rochester. That's right yeah. And they're both associated with fire. The fiery passion of Jane is something that defines a right from the beginning. And what Bertha does is in some ways as an avatar act out the unconscious of Jane of Charlotte Bronte of the novel in debilitating the male maiming and unleashing that anger which is what really enables Jane and Rochester to get together. You might remember at their first meeting in Rochester falls off his horse he's literally knocked off his high horse as well he should be. Thank you. There you are exactly right. I know I know that the novel repeats it in a more violent form when it when it blinds and burns Rochester and cripples him. It brings him down even as it elevates Jane. And it seems to me there's a real

violent impulse that is very in the rakli expressed and that's part of what makes it so powerful. Oh yeah. And you know listeners if you're not familiar with the novel it is all of this richness that we're all discussing here and the fascination for both of my contributors is that the way the adaptations have picked up on some of these pieces and and change and we're going to explore that as we go through the hours or you can just see how some of these points are have been exhibited along the way. But here's the thing that we I want to continually get back to for our listeners and that is. If you just mention the elements you just stated huge in and the ones that we've thrown out here it sounds like a bad Lifetime movie and it really is not. You know I mean you know what somebody in the attic somebody it's overcoming a lot of fire in the end she triumphs. It's not a bad Lifetime movie. I mean there are this is really a book that offers some social criticism of its time and really puts a woman in the position she should be. So this is a conversation I think that can happen now

and 20 years from now because we'll still be doing this. So anyway I'm interested in hearing from listeners those of you I saw in the movie theater this weekend I know you were there because it was jam packed. Those of you with your significant others and without interested to know speaking to the women now what you thought about this adaptation of this classic film we're talking about it with critic Aaron Daley an English professor Eugen Koh. Are you transfixed quite by Jane Eyre. Is this a feminist book or classes ages and races. And on the Jane Eyre conversation at 8 7 7 3 0 1 8 9 7 8 8 7 7 3 0 1 89 70. And before we get to your calls we're taking a break to hear how you can support the program in the WGBH brings you every day from the Calla Crossley Show to the Illini show you're listening to listener supported WGBH eighty nine point seven. We'll be right back after this. Support for WGBH comes from you. And from Boston Private Bank and

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7 9 4 2 4. Stay with public broadcasting during this very important time and give what you can to keep intelligent news available to your entire community making a difference. It doesn't take a whole lot of time a couple of minutes maybe even that much money a few minutes ought to be a Tuesday couple of dollars whatever you do will make a difference call right now. 8 8 8 8 9 7 9 4 2 4 on line at WGBH dot org. When NPR's Guy Raz sat down with the front man of England's latest sensation Mumford Sons he asked a rather simple question if the band was calling upon an American folk tradition in its music and he got a very simple answer no religious reclaiming what's already us ahead. Born out of west London's alternative folk scene Mumford and Sons bridged the gap between traditional folk and indie rock. Like.

And when you help keep your community connected by supporting public broadcasting with the sustaining gift of just $5 a month WGBH will say thanks. With sign no more. The debut CD from Mumford and Sons. Pulse 8 8 8 8 9 7 9 4 2 4. 4 Give securely online at WGBH dot org. Good afternoon I'm Cally Crossley. This is the Calla Crossley Show. It's the Jane Eyre hour with the release of the latest film version of the Charlotte Bronte classic. We're taking the opportunity to talk about its enduring themes the allure of the morally flawed Rochester and Jane Eyre is amazing strength and clarity. I'm joined by our cultural contributor eugène co-processor of English at Wellesley College and our film contributor Guerin daily who is himself a film critic. Listeners get in on the

conversation at 8 7 7 3 0 1 89 70 8 7 7 3 0 1 89 70. Do you see this as a breakthrough work about feminism or is this the same old story of the older guy getting the pretty young thing. What is your favorite version of Jane Eyre where an 8 7 7 3 0 1 89 70 8 7 7 3 0 1 89 70. So I want to start there. Karen daily to talk about the young youngest of the character if you will because I have to say that even though I read the book I know how young she is. Is portrayed she portrays herself in the book after you see the first film versions with Joan Fontaine as a young woman but a really a woman. It sort of sticks in your head that way so you start to think of Jane Eyre as a woman. Well actually she's 19. She's 19 yeah. Mia Wasikowska who plays the Jane Eyre in this version was 19 when she started making this film. And before she

started making the film she read the book and she started looking for someone to make the film. She was really that engaged in it. So she does a really nice job of capturing that that moment when you are a young girl becoming a woman and not very many people have really described this except for I think this film really is making the statement that this is a coming of age. Novel and film right if you will. Yeah it is. And again you give credit to the director and to the writer for making her feel comfortable in that role. And what I really love about her role in this in this film is the timing that she has with Michael Fassbender who plays Rochester the proposal scene is really crisp very crisp between the two of them and give props to Michael Fassbender who allowed himself to be submerged in this role that he didn't have to be over the top. Like Orson Welles or George C. Scott or Timothy Dalton he is ability to play downplay Rochester downplayed

Rochester down so that she could play up to him. I thought was just a brilliant move in keeping that making the movie much more accessible. Well you know what I think we got to listen to the difference in the proposals from the 1906 film version of Jane Eyre and then this to a 2011 version which will give people a sense of the difference in how we say so here is a proposal scene from the 1996 version of Jane Eyre. That you get. From the struggle so you're cool to cooling its cage. I know Kate but I'm a free human being independent with a lot of my own. Story. Stupid me. Again you make fun of me meeting with some. Students wanted to be my wife. OK so that was an 1906 film version that was William Hurt By the way. So this is

20 11 and actually no actually I'm wrong this is the two from the 2006 BBC Masterpiece Theatre version of Jane Eyre which I think comes closest to using all of the language of the novel or a good part of it so here we go. Hope that they don't let me go to. The struggles I have for you because it. Was likely. Yes yes he would tell you and. You know him I have our public positions. Do you know me then I would know. Oh you. Know what. I think. Listen Garrett if somebody writes I want you to pass your life as my second self my best earthly companion. I gotta say that's working for me. Well yeah. Let's go back to then to the 96. Franco Zeffirelli Charlotte Gainsborough William Hurt version violins you know some of the you know violins in the other one. But they had to have violins in this one

and that is the difference between that particular version another with Zeffirelli was looking so hard to recapture the magic from 1968 Romeo and Juliet that he did Jane Eyre as a romantic lush piece and it really falls flat. It really does despite the cast which is pretty good. The 2006 BBC version comes much closer to achieving a Christmas within the dialogue that you feel they're actually talking to each other. The other version you kind of felt that they were saying their lines and acting. This time they felt a little closer to being connected. I agree totally We have a caller Mary from situ it. You're on eighty nine point seven the Calla Crossley Show Go ahead please. Hi. I'm intrigued. I'm very interested in what you're talking about but I have a very different opinion. I am very much a gay guy not a big Bronte fan I really do not like Jane Eyre. OK Mary I'm going to tell you what I tell my production assistant and my sister.

Turn in your woman card. Oh no no no. Against me my woman cos our right our right. Well why not why don't you like it. I think I think it's so unfair rocking when you play those two different versions of the proposal saying the second one which you off think is well do you all agree is much closer to the language and I think it sounds so you know if it comes to life trying to I'm sorry it's just chic the Bronte sisters were way too repressed for their own good. Well they had reason to be. As you know their real life was a little bit reflected in this film. They had a hard childhood and then all of them had a tough time trying to get accepted in a man's world as writers so you know that's that's to be expected. I don't get it. Would you and I just I don't think very graphic was ever brought to me.

All right I'm going to let both my guess and see if they have a question for you. Going to respond to you by reading you the passage that actually precedes those words which are out of context a little bit overwrought and gothic as you suggest and as she asserts her quality in this stirring magnificent speech which is what what precipitates. That little exchange that they have would you like to hear it or no. Sure I'm God and this is when Jane things that Mr Rochester is going to marry Lance Ingram but he wants to keep her on still as a governess. And she says I told you I must go I retorted roused to something like passion. Do you think I can stay to become nothing to you. Do you think I am an automaton a machine without feelings and can bear to have my morsel of bread snatched from my lips and my drop of living water to ask for my cup. Do you think because I am poor obscure plain and little I am soulless and heartless. You think wrong. I have this much

soul as you and full as much heart. And if God had gifted me with some beauty and much wealth I should have made it as hard for you to leave me as it is now for me to leave you. I am not talking to you now through the medium of custom conventionalities nor even of mortal flesh. It is my spirit that addresses your spirit just as if both had passed through the grave and we stood at God's feet equal as we are. Well now what do you think Mary. I mean come on. Oh OK Gary has a few words for you Mary go ahead Karen. I have to agree with you I never liked Jane Eyre as a movie because of all your complaints. I would suggest you go see this version of the movie which is much stronger and it gives a much better representation and as far as Jane Austin is concerned I think it is best described by one who called her the gossip girl of the nineteenth century. Well I don't know if she did I thought her language was a lot more restrained and probably to the

point where is that what I thing I just can't see anybody. I can't hear that. That the next time a woman having only to say that and get away with it. Well I think that's one of the interesting things about Jane Eyre is that she does say that and that's who she is and I think that's why she resonates still. One hundred sixty years later and she does get away with it. Yeah because she's so different. It's a novelist. It's you know if it's a Brian can expect he wants to see what you can say and what I mean is is that that is what he is putting into words in her mouth. I doubt that there was. Well maybe not I don't know I'm just I'm sorry I just think that that is the whole at God's feet you know or we should know that it's like you know me just let me have. Joining what we had a little bit telling Dr. CDs of topic. OK I will say this thank you for your call Mary

very much. To Mary's point I just want to emphasize that how tough it was for the Bronte sisters to get their work and the language that they gave their characters out before the public. Twenty year old Charlotte remember that the character Jane is 19 years old wrote to Robert Southey the poet laureate at the time for his opinion about writing and his response to her shows what she was up against he wrote literature cannot be the business of a woman's life and it ought not to be the more she is engaged in her proper duties the less leisure will she have for it. Even as an accomplishment and a recreation. So is it any wonder that she put a few speeches in James because she had a point to make. You know I'd be willing to you know I guess I don't know but I don't have a time machine and I don't have a Wayback Machine. But I would like to know how people actually did speak in those days. And I think that with out TV and without all these other distractions I do believe that they talk a lot like they wrote.

Well if you if we look at Shakespeare and you know that's the language of Shakespeare is not immediately modern in the way that we think about it Mr. Shakespeare expert is sitting here eugenic Oh but you know the language befits the time and the place and that's I said the same thing about Jane Eyre it befits the time and the place and to me in that situation it's quite quite clear but I can see how people accustomed to a more straightforward kind of conversation are having a hard time. I mean to me Reader I married him is continuous with what I just read. They're all part of the same spectrum. Exactly and that's the beginning in fact. I have a lovely review by Seattle. Times writer and she says that line Reader I married him is what drew so many people into the novel to begin with because that's what this is Jane reflecting on how her whole life and how she ended up with Rochester as we know. So there's much more to say about this including why is this version so different in this way why did Cary Fukunaga decide to do just a

completely different take on this and we can explore that on the other side of this break. We're talking about Charlotte Bronte It's classic Jane Eyre with film critic Karen Daly and Judy and Co professor of English. At Wellesley College both contributors to the Calla Crossley Show. Listeners What is your favorite adaptation of Jane Eyre. Are you loyal to the book. What do you think the book loses when it's made into a movie and what does it gain 8 7 7 3 0 1 8 9 7 8 8 7 7 3 0 1 8 0 9 7. Before we get to your calls we're taking a break to hear how you can support the programming the WGBH brings you every day from the world to jazz on WGBH with Eric Jackson. I'm Kelly Crossley. We're listening to listener supported radio. We'll be back after this break. Keep your dial an eighty nine point seven. Support for WGBH comes from you and from safety insurance committed to

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into the creative process with interviews with musicians Rosanne Cash and Yo-Yo Ma sculptor Richard Serra. Actor Kevin Bacon writer Joyce Carol Oates and many others. Show your own spark of genius by keeping public radio connected to your community with a sustaining gift of just seven dollars and fifty cents a month. When you do WGBH will say FX with a copy of spark How Creativity Works. Call 8 8 8 8 9 7 9 4 2 4 4 get securely on line at WGBH Darfur. Good afternoon I'm Cally Crossley This is the Calla Crossley Show we're talking about Jane Eyre this hour with a new film version out in theaters. It's a great time to talk about a beloved book. I'm joined by film critic and our contributor Aaron Daley and Eugen Koh professor of English at Wellesley College and our cultural contributor.

Now before the break Karen I was asking you about the pared down version of of this film. That's that's been the general criticism is that he took what would maybe seem overwrought to callers like Mary and really pared it down in some very beautiful way. Before you speak let me let our listeners hear a trailer from the 2011 film Jane Eyre. Do you think that because I am pole obscure plane we're told the time so it's an old. Joke. Really. The most fun to Michael. J. Now Karen that still has a lot of lushness to it. That's the trailer. Yeah OK all right.

You have to look at the movie and you know forget about trailers. That isn't to sell tickets. I had a chance to speak to Cary Fukunaga the director of the film and I asked him a question similar to this. The first thing he did with his screenwriter was to look at some of the other versions he didn't realize that over 900 versions had been filmed in labor and like nine made for TV movies. He didn't realize that the first version was a 90 day. So he started looking at them and what he noticed morning else was that the movie wasn't framed properly. The movies weren't framed properly so what he did was he took the singe and rivers segment and made that almost the opening sequence so that the rest of the movie is going to be a flashback. And that's an important element of what's doing what's going on. So when you add that segment which had been deleted and other versions because it made the movie too long it forced him to start paring back and to make it a little more austere. And in that awesome that works and it works because then you get the austerity of the MORs as well so you get something that's more thematic and it works a

lot better for the film. And by adding the river's character more prominently into the film you get another male who Jane has to deal with on some level that strengthens her character that comes back later. OK we've got lots of color so Barbara from Narragansett Rhode Island Go ahead please. Hi. Yeah I read finish the book I read it last week in anticipation of the movie and I have to agree with Mary that it is soapy especially near the end where she has the carriage stop a mile away from that desolate house and she crawls Spektor her man. That's pretty dopey. Barbara you would crawl back to your man come on. I'm miles away from the house after dark but I'd love to. The book is special in this age of Twitter and texting is. They describe say a smile not in a sentence or paragraph but pages. And I love the descriptive writing. I'm not sure if it come off as a movie but you know Masterpiece Theater has

taken tons of stories soapy stories and made it look rich and I'm hoping that's what this movie does. I think you'll be happy with it. Thank you so much for the call. Oh no problem. All right. Johnno from New Hampshire Go ahead please. Hi. I haven't seen this particular movie but I would have to disagree that this is not a strong feminist book. I would say that at the end she ends up in a position of power. Rochester she has started out as a supplicant to him and ended up. As his. Fading light and in charge of his emotional and physical well-being. Yeah I think you've got a point there Jomana thank you both so much for the call. Abby wrote in on the Facebook page and she pretty much agrees with Johana She says the story is gripping for many reasons but mostly because the depth of love Jane Eyre has for Edward Rochester even though this love is so deep Jane doesn't compromise her standards and stands up for herself as an individual so that makes sense. One more caller

Hellery from Pembroke. Go ahead please. Hi. I wanted to call in and agree with the last comment I think that this book is such a rich example of a strong woman who is you know a feminist before her time and invest for herself and you know even 20 end of the book when she realizes what Rochester is it realizes that she won't sacrifice her standards for that. So she leaves him and in the end I can see people thinking that she comes crawling back but in fact she Kris back to him when he is at the same level as her and in the end they unite themselves you know in marriage and they're equals and I think. It's such a great example of you know something that modern women to look to and say you know I can love a man but he has been my equal. Right. Very good point Hilary is that why young women are attracted to the book. Well you know maybe I can respond to all of the callers by saying first pointing out that to me the most moving words of the entire novel are Jane Jane Jane those are the words that she hears when she's almost tempted into

marrying sins and and mysteriously there's this voice that calls out to her so she receives a calling not from divinity. She doesn't receive it from the other world but from another human being who needs her for his own sense of self completion. And she goes back on her own. By choice and she doesn't go crawling back she goes back because as your listeners have pointed out she has established her independence and she can now lead him in a way that she was not capable of earlier. And I have to say that my niece agrees with all of that. She first read the novel in the ninth grade she and I are big Jane Eyre fans she says. Her favorite parts of the novel are the dialogue and she likes the way that actually they didn't get to the point but skimmed around the edges which she says I might add ease the awkwardness first for me. A person not ready to talk about all of that so I thought that was great and I have great reading there for the

first time. What will this new version do and why this film now. You too. You know what. I'm not sure. I mean again this film has been made many many times so you know why now I think why it's resonating now. And I was telling your producer when we were talking in pre-production about this I was doing some channel surfing and I ran into a TMZ segment on Snooki and there is a young woman who has found fame through infamy and who seems to be going with the flow and in this particular segment I saw she was drunk and dancing around like a crazy person. I think that Jane resonates because that is not what we want as our role model. You know we want someone who is going to you know come into themselves look at who they are and what makes them feel whole and then not sacrifice. Jane is resonating right now because I believe we have too many role models out there who have traded in

infamy for fame. And Jane is not treating anything except in her own well being. OK. You didn't know why this film now. Well maybe I can refer you to David Brooks The New York Times columnist who has recently been talking a lot about how human beings are social beings how social we are as creatures. This is a novel that resonates in part I think because Jane has to negotiate the desire for on the one hand autonomy and freedom and on the other hand the desire for a belonging and a sense of home. The price of which is in some ways acquiescing to social expectations. So this novel I Think And the film version recognizes that Jane's pathway is through a very very complicated social world in which the personal and the social are inseparable. It always recognizes that we are relational human beings and neither

Jane nor process there neither men nor women can feel a sense of wholeness or self completion without an other. And so it's a great reminder that even as we cherish our freedom our liberty we are also social beings and have responsibilities and live in a world peopled by others. All right that's a lot going on there we're talking about Jane Eyre from the printed page to the big screen with film critic and contributor Karen Dalian eugène COF professor of English at Wellesley College and our contributor will be back after this break stay tuned here are you can support the programming that WGBH brings you every day from the world to jazz on WGBH with Eric Jackson. I'm Catholic Crossley. You're listening to listener supported radio. We'll be back after this break. Keep your dial on eighty nine point seven. WGBH. If you've ever connected with a public radio story like this they do you think.

Oh my God it's David Ross better known here as reporter man Dave. For years he's handed out hundreds of bottles of water a day to those living on San Diego streets. He drives around in an old beat up car his homeless Hyundai he calls it follows not homeless and self ID. Consider reaching out as a new member of WGBH radio. All you need is a credit card a couple of minutes and the answers to some pretty simple questions like What's your name and how much would you like to give full WGBH membership starts with a gift in any amount. And now more than ever every member makes a difference. Called 8 8 8 8 9 7 9 4 2 4 4 Do your part online at WGBH dot org. 8 8 8 8 9 7 9 4 2 4 or securely online at WGBH dot org the WGBH Marj community campaign underway right now might be the most important time for you to get involved. We are heading in to pledge free time in just a few moments

but when did till that time we need you to get to the phone. 8 8 8 8 9 7 9 4 2 4. Or online at WGBH dot org I'm Don go in here with John Bossi. Thanks Don. We know that many of you are reevaluating where to put your money where there and when you invest in WGBH you're making a safe investment whether it's $5 a month or fifteen hundred dollars a year. Every dollar you contribute supports independent journalism and quality programming and keeps intelligent programs free and available to your community. You can do so by participating by calling 8 8 8 8 9 7 9 4 2 4 or giving online at WGBH dot org. And don't forget when you do call right now and support eighty nine point seven you'll be automatically entered to win a three day two night trip for four to Washington D.C. on board Amtrak's express the prize includes round trip business class accommodations are trouble for four from Boston to Washington aboard Amtrak's high speed rail the ESOL Express. Accommodations at the Intercontinental Willard Hotel a private tour of the National Air and Space Museum

in a Washington gift package courtesy of from his travel guides. You don't have to interview what to make a pledge to be entered. But we do hope that you take the time to do that. 8 8 8 8 9 7 9 4 2 4 or WGBH dot org 8 8 8 8 9 7 9 4 2 4 will be going to fresh air in just a few moments as part of the extended news and information line up on WGBH. And you can support that you can support independent journalism by calling 8 8 8 8 9 7 9 4 2 4 or going online to WGBH orgy. So important that you do so and do it right now while you're thinking about 8 8 8 8 9 7 9 4 2 4. Thank you. We've been talking about Charlotte Bronte is classic Jane Eyre with my film contributor gerund daily who is a film critic and my cultural contributor eugène professor of English at Wellesley College thanks much you too. It was a gas I love this. OK. To an end tomorrow for our Made in Massachusetts hour. We're talking pranks and linguistics and more.

You can keep on top of the Kalak Rossley show at WGBH dot org slash Calla Crossley follow us on Twitter or become a fan of the Calla Crossley Show on Facebook. Today's show was engineered by Alan Matheson produced by Chelsea Myers. Well Rose lip and Evan Musica were in production of WGBH radio.