![]() Rochester after her fatal leap as she “lay smashed on the pavement.” Rochester, “Look at Jane, all grave and silent at the mouth of Hell,” and bothered by the jarring modernity of another line describing Mrs. I was struck by the beauty of a line delivered by Welles as he described Jane’s first sight of Mrs. Rivers), and other players whose names are less familiar but whose faces are indelibly imprinted on our memories of films of the period. You will get some idea of the quality of the team that was assembled for this film when I tell you that two of the script-writers were Aldous Huxley and John Houseman and that, in addition to Welles, Daniell, Moorehead, and Joan Fontaine (as Jane), there are splendid performances by a group of actors that can only serve to remind us of the talent that was still available to the major studios in the early forties: Elizabeth Taylor, Peggy Ann Garner, Margaret O’Brien, Sara Allgood, John Sutton (in an uncommonly fine portrayal of Broadhurst’s sympathetic alter ego, Dr. I thought I detected Wellesian touches in Jane’s introduction to Rochester at the manor in the handling of the brief scene with Agnes Moorehead at the beginning as the camera in a sardonic low-angle shot accented the self-satisfied cruelty of Jane’s aunt and cousin and in the exterior shots of the great house that squats malevolently at the film’s center, with its battlements and moody lighting that inevitably remind the viewer of Kane’s estate. The film is one of those meticulous re-creations of a literary classic that David Selznick, in particular, was gifted in bringing to life on the screen, but it has, at moments, something which such films often do not have: imaginative camera work which makes portions of the film seem as fresh as they did thirty-five years ago and confirms for me the rumors that Welles, coming to this project after Citizen Kane and the abortive Magnificent Ambersons, co-directed certain scenes. Rochester’s husband by Orson Welles, supported by one of composer Bernard Herrmann’s finest scores. ![]() I was moved by the moody, romantic sweep of the episodes at Rochester’s estate, with the brilliant portrayal of mad Mrs. engrossed in a showing of the 20th Century Fox version of Jane Eyre, I alternately cursed the frequent interruptions for the promotion of albums like Motels & Memories and local entrepreneurs like Mother’s Pizza (“Just like you remember it, only it really wasn’t ever this good!”) and revelled in the superb Dickensian detail of the sequences at Linwood School dominated by Henry Daniell’s marvelous portrayal of the sadistic religious fanati,c, Broadhurst. – This review first appeared in The MYSTERY FANcier, Vol.
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