The narrative is strictly heteronormative, focusing entirely on the romance between Jane and Rochester. It lacks any representation of non-cisnormative identities or critiques of traditional romantic tropes.

Jane demonstrates significant intellectual and moral autonomy, refusing to sacrifice her principles for security. However, the plot remains driven by the male protagonist and reinforces standard Victorian power dynamics.

The cast is predominantly white and Anglo-Saxon, reflecting 1940s casting norms. The film fails to visually or narratively emphasize the colonial implications of Bertha Mason’s Caribbean origins.

The film is rooted in traditional Western institutions and conservative moral frameworks. It upholds established social hierarchies and emphasizes religious and ethical duty as primary character guides.

Themes of mental instability are used primarily as gothic plot devices to drive mystery. The portrayal leans into the 'madwoman in the attic' trope rather than exploring lived experience.