Samstag, 5. November 2011

Tipp: Neuverfilmung von Jane Eyre

Am 1. Dezember ist es so weit: Eine Neuauflage von Jane Eyre, dem Klassiker von Charlotte Brontë, kommt endlich auch in die deutschen Kinos! In der Hauptrolle zu sehen ist Mia Wasikowska und der Trailer lässt vermuten, dass der Film eine recht düstere und unheimliche Richtung einschlägt.

Natürlich will ich euch den Trailer nicht vorenthalten:

Jane Eyre wurde schon häufig filmisch umgesetzt; was für einen Einfluss die Interpretation des Romans auf die filmische Umsetzung hat, kann man schön an dem folgenden Beispiel erkennen. 
Dieser Videoclip zeigt einen Vergleich einer Szene in drei verschiedenen Produktionen (jeweils im englischsprachigen Original). Bei den Versionen handelt es sich um Julian Amyes' Fernsehproduktion aus dem Jahr 1983, Franco Zeffirellis Kinofilm aus dem Jahr 1996 sowie um Susanna Whites Fernseh-Miniserie aus dem Jahr 2006.

Die Textpassage zu der obigen Filmsequenz liest sich wie folgt: 
"On the hill-top above me sat the rising moon; pale yet as a cloud, but brightening momentarily, she looked over Hay, which, half lost in trees, sent up a blue smoke from its few chimneys: it was yet a mile distant, but in the absolute hush I could hear plainly its thin murmurs of life.  My ear, too, felt the flow of currents; in what dales and depths I could not tell: but there were many hills beyond Hay, and doubtless many becks threading their passes.  That evening calm betrayed alike the tinkle of the nearest streams, the sough of the most remote.
A rude noise broke on these fine ripplings and whisperings, at once so far away and so clear: a positive tramp, tramp, a metallic clatter, which effaced the soft wave-wanderings; as, in a picture, the solid mass of a crag, or the rough boles of a great oak, drawn in dark and strong on the foreground, efface the aërial distance of azure hill, sunny horizon, and blended clouds where tint melts into tint.
The din was on the causeway: a horse was coming; the windings of the lane yet hid it, but it approached.  I was just leaving the stile; yet, as the path was narrow, I sat still to let it go by.  In those days I was young, and all sorts of fancies bright and dark tenanted my mind: the memories of nursery stories were there amongst other rubbish; and when they recurred, maturing youth added to them a vigour and vividness beyond what childhood could give.  As this horse approached, and as I watched for it to appear through the dusk, I remembered certain of Bessie’s tales, wherein figured a North-of-England spirit called a “Gytrash,” which, in the form of horse, mule, or large dog, haunted solitary ways, and sometimes came upon belated travellers, as this horse was now coming upon me.
It was very near, but not yet in sight; when, in addition to the tramp, tramp, I heard a rush under the hedge, and close down by the hazel stems glided a great dog, whose black and white colour made him a distinct object against the trees.  It was exactly one form of Bessie’s Gytrash—a lion-like creature with long hair and a huge head: it passed me, however, quietly enough; not staying to look up, with strange pretercanine eyes, in my face, as I half expected it would.  The horse followed,—a tall steed, and on its back a rider.  The man, the human being, broke the spell at once.  Nothing ever rode the Gytrash: it was always alone; and goblins, to my notions, though they might tenant the dumb carcasses of beasts, could scarce covet shelter in the commonplace human form.  No Gytrash was this,—only a traveller taking the short cut to Millcote.  He passed, and I went on; a few steps, and I turned: a sliding sound and an exclamation of “What the deuce is to do now?” and a clattering tumble, arrested my attention.  Man and horse were down; they had slipped on the sheet of ice which glazed the causeway.  The dog came bounding back, and seeing his master in a predicament, and hearing the horse groan, barked till the evening hills echoed the sound, which was deep in proportion to his magnitude.  He snuffed round the prostrate group, and then he ran up to me; it was all he could do,—there was no other help at hand to summon.  I obeyed him, and walked down to the traveller, by this time struggling himself free of his steed.  His efforts were so vigorous, I thought he could not be much hurt; but I asked him the question—
“Are you injured, sir?”
I think he was swearing, but am not certain; however, he was pronouncing some formula which prevented him from replying to me directly.
“Can I do anything?” I asked again.
“You must just stand on one side,” he answered as he rose, first to his knees, and then to his feet.  I did; whereupon began a heaving, stamping, clattering process, accompanied by a barking and baying which removed me effectually some yards’ distance; but I would not be driven quite away till I saw the event.  This was finally fortunate; the horse was re-established, and the dog was silenced with a “Down, Pilot!”  The traveller now, stooping, felt his foot and leg, as if trying whether they were sound; apparently something ailed them, for he halted to the stile whence I had just risen, and sat down.
I was in the mood for being useful, or at least officious, I think, for I now drew near him again.
“If you are hurt, and want help, sir, I can fetch some one either from Thornfield Hall or from Hay.”
“Thank you: I shall do: I have no broken bones,—only a sprain;” and again he stood up and tried his foot, but the result extorted an involuntary “Ugh!”
Something of daylight still lingered, and the moon was waxing bright: I could see him plainly.  His figure was enveloped in a riding cloak, fur collared and steel clasped; its details were not apparent, but I traced the general points of middle height and considerable breadth of chest.  He had a dark face, with stern features and a heavy brow; his eyes and gathered eyebrows looked ireful and thwarted just now; he was past youth, but had not reached middle-age; perhaps he might be thirty-five.  I felt no fear of him, and but little shyness.  Had he been a handsome, heroic-looking young gentleman, I should not have dared to stand thus questioning him against his will, and offering my services unasked.  I had hardly ever seen a handsome youth; never in my life spoken to one.  I had a theoretical reverence and homage for beauty, elegance, gallantry, fascination; but had I met those qualities incarnate in masculine shape, I should have known instinctively that they neither had nor could have sympathy with anything in me, and should have shunned them as one would fire, lightning, or anything else that is bright but antipathetic.
If even this stranger had smiled and been good-humoured to me when I addressed him; if he had put off my offer of assistance gaily and with thanks, I should have gone on my way and not felt any vocation to renew inquiries: but the frown, the roughness of the traveller, set me at my ease: I retained my station when he waved to me to go, and announced—
“I cannot think of leaving you, sir, at so late an hour, in this solitary lane, till I see you are fit to mount your horse.”
He looked at me when I said this; he had hardly turned his eyes in my direction before.
“I should think you ought to be at home yourself,” said he, “if you have a home in this neighbourhood: where do you come from?”
“From just below; and I am not at all afraid of being out late when it is moonlight: I will run over to Hay for you with pleasure, if you wish it: indeed, I am going there to post a letter.”
“You live just below—do you mean at that house with the battlements?” pointing to Thornfield Hall, on which the moon cast a hoary gleam, bringing it out distinct and pale from the woods that, by contrast with the western sky, now seemed one mass of shadow.
“Yes, sir.”
“Whose house is it?”
“Mr. Rochester’s.”
“Do you know Mr. Rochester?”
“No, I have never seen him.”
“He is not resident, then?”
“Can you tell me where he is?”
“I cannot.”
“You are not a servant at the hall, of course.  You are—”  He stopped, ran his eye over my dress, which, as usual, was quite simple: a black merino cloak, a black beaver bonnet; neither of them half fine enough for a lady’s-maid.  He seemed puzzled to decide what I was; I helped him.
“I am the governess.”
“Ah, the governess!” he repeated; “deuce take me, if I had not forgotten!  The governess!” and again my raiment underwent scrutiny.  In two minutes he rose from the stile: his face expressed pain when he tried to move.
“I cannot commission you to fetch help,” he said; “but you may help me a little yourself, if you will be so kind.”
“Yes, sir.”
“You have not an umbrella that I can use as a stick?”
“Try to get hold of my horse’s bridle and lead him to me: you are not afraid?”
I should have been afraid to touch a horse when alone, but when told to do it, I was disposed to obey.  I put down my muff on the stile, and went up to the tall steed; I endeavoured to catch the bridle, but it was a spirited thing, and would not let me come near its head; I made effort on effort, though in vain: meantime, I was mortally afraid of its trampling fore-feet.  The traveller waited and watched for some time, and at last he laughed.
“I see,” he said, “the mountain will never be brought to Mahomet, so all you can do is to aid Mahomet to go to the mountain; I must beg of you to come here.”
I came.  “Excuse me,” he continued: “necessity compels me to make you useful.”  He laid a heavy hand on my shoulder, and leaning on me with some stress, limped to his horse.  Having once caught the bridle, he mastered it directly and sprang to his saddle; grimacing grimly as he made the effort, for it wrenched his sprain.
“Now,” said he, releasing his under lip from a hard bite, “just hand me my whip; it lies there under the hedge.”
I sought it and found it.
“Thank you; now make haste with the letter to Hay, and return as fast as you can.”
A touch of a spurred heel made his horse first start and rear, and then bound away; the dog rushed in his traces; all three vanished," 
(aus Jane Eyre, Buch 1/Kapitel XII, Quelle)

Dass bei einer Literaturverfilmung, ganz besonders wenn man so eine dicke Buchvorlage wie Jane Eyre hat, Schwerpunkte gesetzt werden müssen, sieht man in dem obigen Beispiel besonders gut. Die Auswahl des Drehortes, die Schauspieler und die Atmosphäre sind dabei Ausdruck der Interpretation der literarischen Vorlage. Welche Version am besten zusagt, sei deswegen jedem selbst überlassen!

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