The '73 BBC production of "Jane Eyre" with Sorcha Cusack and Michael Jayston is a decent adaptation of Charlotte Brontë's classic novel but it pales in comparison to the outstanding BBC production of '83 in several respects. Firstly, the '73 version has the weaker script, which very often stays too close to the novel for is own good, yet at times diverts unnecessarily from the literary model. It may sound paradoxical that a production of Jane Eyre can stay too close to the novel, but so it is. The long dialogues between Rochester and Jane are a joy to read, but when they are transferred to the screen in nearly their full length as in this production, their complexity and very unusualness create an impression of artificiality and staginess. The '83 version, on the contrary, shows how superbly these dialogues can be adapted to the screen. There, scriptwriter Alexander Baron did not keep all the lines, but infallibly picked the core lines which are essential to characterize the protagonists and convey the essence of the scenes. Faithful as the long conversation are rendered in the '73 version, they appeal to the intellect rather than the heart, they are interesting, but not captivating, and they lack the focus and also the intensity of the scenes between Rochester and Jane in the '83 version.<br /><br />Another negative point is the more than frequent use of Jane's voice-overs. Nearly all versions make use of that technique and with just reason, but in this adaptation it is driven to absurd extremes. Jane's inner voice constantly interrupts even the dialogues between her and Rochester, only to inform the audience about what is already blatantly obvious and what could have been shown as effectively by plain good acting. Alas, Sorcha Cusack's acting abilities are limited  at least in this role. She either raises her eyebrows or wears an amused, know-all smile, which is simply not enough to render the character of the novel's heroine. But then her whole concept of Jane is wrong. She plays Jane as a self-confident, sophisticated and worldly-wise young woman, who is right from the beginning on terms of equality with Mr Rochester. She completely misses Jane's guardedness, her shyness, modesty and inexperience. Her Jane is even snappish and pert at times. But the misrepresentation of Jane's character is not Cusack's fault alone but partly also due to the script, which brings me back to my first point of criticism: Since the script is overall so faithful to the novel, the viewer naturally concludes that each word uttered in this version must come straight from the novel  but such is not the case. A very attentive reader of the novel will have noticed that they frequently put repartees and remarks in Jane's mouth which she does not utter in the novel and which give her a sophistication, shrewdness and boldness the young and inexperienced Jane of the novel does not possess. And getting Jane wrong they also got the relationship between her and Rochester wrong. She constantly has the final say during their conversations, she dominates and lectures Rochester instead of being lectured by him.<br /><br />With such a Jane there is little Michael Jayston as Rochester can do. Jayston is an admirable, subtle actor, who speaks his many lines well and who is really the highlight of this version, but unfortunately he lacks that charisma, that great overpowering presence and natural authority which are necessary to play Rochester and which for example make Orson Welles a more convincing Rochester in the '44 movie, although he has much less screen time than Jayston and does not possess the latter's subtlety. Jayston is superb at playing the eloquent and refined gentleman, but simply cannot portray Rochester' imperious and dark side, and his outbursts of anger and temperament seem unnatural and forced. In the '83 version all sides of Rochester's character are rendered in equal perfection by Timothy Dalton, who combines magnetism and a great acting range and who is furthermore unrivalled in his incredible delivery of Charlotte Brontë' unusual language. Unfortunately there is also little chemistry between Jayston and Cusack: their interplay is amusing but it lacks feeling and their love scenes are passionless and dry.<br /><br />As regards the plot most of the novel's important scenes are faithfully shown in this version  although the part between Jane's flight from Thornfield and her arrival at Moor House is cut out  but two scenes are altered and to their disadvantage. The first is the gypsy scene. In this version Jane guesses who the gypsy woman really is even before she sees her. Rochester can only say a few sentences before Jane makes him stop the masquerade. In the novel this scene is an admirable means of characterizing both Rochester and Jane  here it only serves to make Jane look very smart and Rochester like a fool. Better to leave out that scene than to mutilate it in that fashion. The second is the parting scene after the aborted wedding. This scene would have benefited if they had stayed closer to the novel, but for some reason they considerably shortened it and consequently that scene conveys next to none of the heartbreak and despair of the scene of the novel. Again, both these scenes are done to perfection in the '83 version.<br /><br />Let me conclude by saying that despite all my points of criticism I still think that this version in its overall great faithfulness to the novel is miles above nearly all other Jane Eyre adaptation, and I would invite all true lovers of the novel  and using that term I exclude all those who earnestly affirm that the silly 2006 perversion of Jane Eyre is true to the novel or to the spirit of the novel  to watch both the productions of '73 and '83 and to form their own opinion. For my part I have found the definitive Jane Eyre in the '83 adaptation.