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Monthly Archives: April 2011

Apologies for the delay in posting!

Anyway, onto the talk. Last week, I flew to LA for the Romantic Times Conference, and on the flight out, the airplane showed The Tourist, starring Angelina Jolie and Johnny Depp. A beautiful cast, on paper at least.

My flight companion Liz Maverick and I watched it, without the sound, and found it as execrably horrible as most, if not all, reviewers had said.

(Worse even was today when I realized Jolie affects this weird faintly European accent. Ugh!) There was zero charisma between the two of them, and we didn’t buy it for a second that either would fall in love with the other. Here is their first meet:

Now, we’ve all got our favorite swoony they MUST get together moments from book and film; why do some pairings work and others absolutely do not? It’s so hard to gauge, which is where good authors have to come in; for example, I’ve just finished reading Elizabeth Hoyt‘s Notorious Pleasures where, on the first page, the heroine meets the purported hero while he is in the middle of schtupping a married woman. And, somehow, Hoyt convinces us that those two–Lady Perfect and Lord Shameless, as each tag the other–are perfect together.

In one of my favorite meetings, North & South‘s Margaret Hale meets John Thornton for the first time. She’s brave enough to stand up to him–and his temper–and even though during this scene it’s hard to imagine it, it’s not impossible to imagine that by the end they’ll have fallen in love.

What is similar between Margaret and John is their passionate protection of people, even if during this scene they are diametrically opposed.

But in The Tourist–to come back to that atrocity–there is no question, at their first meeting, that Depp’s character will do absolutely whatever Jolie’s character wants him to. There’s no tension, no will they, won’t they? about it.

It’s the question that keeps us reading or watching–will they or won’t they?–even when we can predict the outcome (reading romance, and all).

Who are your most electric pairings on screen or in book?

Megan Frampton

Yikes, I’m late. It’s spring. I saw a bee today, the first one I’ve noticed, and I’ve been dealing with all sorts of vegetation problems outside, the result of several years’ neglect while I wrote, or, more likely, lurked around inside thinking about starting to write. But never mind all that.

I finally got to see Jane Eyre, weeks after everyone else, and I think it’s a good enough interpretation that it could stand a little more discussion. So I loved it, unreservedly, and reader, I would marry this movie given half the chance.

I believe–is this true?–that it’s the only film version that does not resort to a voiceover to link plot elements. Yet the director took some liberties with the timeline, beginning it as Jane flees Thornfield, and actually repeating about a minute of footage when the story catches up with itself. The whole Lowood part of the book (ooh, all that discipline!) is shortened, skimming over Helen Burns and ignoring the saintly Miss Temple. The Rochester-in-drag as a fortune-teller scene was wisely abandoned and if I had any complaint it was that Michael Fassbender was too hot (even in a silly nightie. Oooh). However, even that worked; at the end, he was frail and diminished and sporting a beard a woman could get lost in.

And Jane herself–well, I’ve never liked any of the others, such as the permanently cross and overbitten Ruth Wilson in the 2006 BBC version, the too-pretty Charlotte Gainsbourg (1996), and I thought at moments in the 1970 version with Susannah York that she almost got it. But Mia Wasikowska was amazing; she portrayed such a sense of inner passion behind the mask.

One scene that was omitted, which surprised me at first, was that in which Jane’s wedding veil is ripped in half by Bertha (uh, you do know she’s the mad wife in the attic, right? oops, spoiler). But it made sense in the understated interpretation, abandoning the more obviously gothic elements.

There were some lovely moments–the sexy, and again, understated scene after the fire when Jane and Rochester almost kiss (they rub noses. Aaaw); when Jane’s wedding gown drops around her feet, mirroring the earlier scene where her “fine clothes” are taken from her at Lowood.

The locations and lighting and soundtrack were incredible. Most of it was filmed in Derbyshire, and here are some of the locations. Haddon Hall, left, is Thornfield:

Have you seen the movie? What did you think? What was your favorite scene?

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Or would you just like to dream about one?

Then you probably would like to know where to go to get a Regency wedding dress. In the Regency, many ladies simply married in their best gown, which may have been white, or may not have been. Weddings were not grand like the one we’re anticipating between Prince William and his Kate. They were private affairs, with only those closest to the family. Today weddings can be as grand as William and Kate’s or as humble as the bride, groom, and a witness.
But today most brides want a dress. A WHITE one…and it could be a Regency one.
First stop might be The Jane Austen Centre Gift Shop. They offer a lovely, authentically cut, Regency dress suitable for a wedding.
Or you could ask Jessamyn of Jessamyn’s Regency Costume Companion to make you this dress.
Or ask Foxglovegowns to custom-make this one.
Or you can buy this one from an Etsy Shop
Or you can borrow mine!!
Can you tell I’m using every spare moment to write Leo’s Story, my Diamonds of Welbourne Manor-connected book?
Can you also tell that one of my favorite TV shows is Say Yes To The Dress?
Which gown do you pick?
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