It has the benefit of being a feature film (and the only surviving cinematic adaptation; more on that later) so the cinematography is undeniably superior and the widescreen Panavision captures the scope of the countryside. France is a good substitute for England, particularly Normandy, where many of the scenes depicted the summer season was shot, but it doesn't have the same feeling as the location of Dorset (the basis for Hardy's fictional Wessex). The relatively recent Criterion Blu-ray edition makes the experience of viewing even richer and gives one the impression of what it must have been like to see it on the big screen. The music by Phillipe Sarde and the costuming are breathtaking as well. However, this is not my favorite, in part because of the notoriety surrounding Polanski (he claimed in his autobiography to have been involved with Nastassja Kinski, who portrayed Tess, a few years prior to filming, while she was underage; she denies this), and because of some of the liberties and omissions from the source material. Of course, the book is very detailed and it would be unreasonable to expect the film to be the book, but what Polanski, Gerard Brach, and John Brownjohn chose to omit or change was somewhat problematic for this viewer.
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| Nastassja Kinski as Tess |
Nastassja Kinski's Tess seems like a lesson in passivity. She is also so soft-spoken that it is sometimes to hear her. Indeed, she doesn't have much dialogue in this film, considering its three-hour length. She looks beautiful in the period costumes, but she doesn't really bring an English country girl to mind. While Tess is beset by bad luck, violence, poverty, etc, she still has spirit and passion, which is one of the things that makes her stand out, along with her beauty and goodness. Kinski does convey much more with facial expression and body language more so than dialogue, which is also important, but the lack of insight and relative uncommunicativeness of her portrayal of the character does leave something to be desired. There is also a noticeable lack of chemistry between her and her male co-stars, and with the exception of Leigh Lawson (Alec) there seems to be very little vitality or emotion in the lead characters. Peter Firth is also quite subdued, and there are only one or two scenes to indicate the growing romantic attachment between him and Tess.
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| Tess and her true love, Angel (Peter Firth) |
Polanski seemed more focused on the visual tone of the movie than the performances. While Kinski considers this her best film and loved playing the character, I must say her depiction of Tess did leave me feeling detached. I didn't feel sadness or outrage regarding her ordeal or her ultimate fate. I felt sorry for her, yes, but not much beyond that. It's hard not to be distracted by the music and the photography, which is superior in many ways to the performances for the most part. The music gives you an idea of what you are supposed to feel, but for me anyway, the acting and scenes themselves didn't live up to the expectation that was set by composer Phillipe Sarde and the cinematographers.
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| Tess and Alec (Leigh Lawson) |
One of the things that irk me about the film is how it omits two key scenes: the death of the family horse while Tess was at the reins, which foreshadows her fate and makes her feel tremendously guilty and what makes her agree to "claim kin" to the wealthy d'Urbervilles. The second is how Alec reappears in Tess's life. In the book, he becomes a preacher and he and Tess cross paths because of one of Hardy's trademarks - fate. Here, we get this rather unbelievable explanation that Alec learned of Tess's ordeal (she gave birth to his baby, who died soon after birth, as the result of a rape) because her mother wrote to him after Angel abandoned her and Tess had to seek work as a field-laborer. The irony is completely lost here, and despite Polanski's insistence that Alec's conversion was "too Victorian", it's far more convincing and compelling.
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| Tess and Angel |
There is much to enjoy here if you can put all of this aside. As an adaptation, it's both a hit and miss in certain areas. The romance factor, as I alluded to earlier, seemed absent for the most part, perhaps because of the lack of screen time to establish the love between Tess and Angel, and the tragedy that awaits Tess didn't have the emotional impact that was intended. The passing of time isn't really reflected well, other than the changing of the seasons. Another result of lack of communication with the audience. Showing rather than telling is important in a film as well, but in a story like this, certain things need to be established.
I've noticed that in recent years, the 1998 two-part miniseries (produced by the now-defunct London Weekend Television and A&E) has been overlooked in favor of the 1979 film and 2008 BBC miniseries, which is a shame because it is my favorite (the first that I saw) and probably the most faithful. Ted Whitehead adapted the novel and made a point of not watching Polanski's film. It was shot on location in Dorset and while it was made on a TV budget, it looks wonderful for a miniseries of that time; the costuming and music are great too. Justine Waddell played Tess with more pluck, yet she also displayed vulnerability and wistfulness.
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| Justine Waddell as Tess |
The relationships between the characters are more fleshed out, and a narrator (obviously meant to be Thomas Hardy) occasionally guides the viewer through Tess's trials and tribulations. Waddell has the looks of a country girl and also has an English rose-type beauty that really does seem like a throwback to the Victorian Era. Period clothing becomes her, and she did in fact, star in several period dramas in the late 1990s. She also has moments of humor that helps to give a bit of relief, mostly prior to her marriage to Angel. The supporting cast is excellent and makes the most of their limited screen time. We get more of an insight into Tess's home life and the burden of responsibility she has in taking care of her younger siblings and even doing some of her father's work when he is too drunk to do so himself. It's that sense of responsibility that in a way puts her on the path to destruction, unbeknownst to her. Her parents only see her beauty and their noble lineage as a way out of their impoverished existence, and in doing so they place Tess in a dangerous and precarious position.
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| Tess and Angel (Oliver Milburn) |
This miniseries has the best representation of the relationship between Tess and Angel. Oliver Milburn was the best actor who played the role; he seemed to have a strong grasp on what made Angel appealing and why Tess fell in love with him and also what made him hypocritical and ignorant. Because Milburn has a kind voice and countenance, it can be hard to hate him as we are supposed to, and it's easy to understand why Tess continued to love him and long for his return. Milburn manages to make Angel's repentance believable and moving. You can almost believe that Tess and Angel can stay together and their love will endure somehow. The chemistry between the actors is very natural and comes across as very genuine. While it would have been nice to have scenes with Angel's family or with the girl whom his parents wanted him to marry, even without that, this miniseries is the cream of the crop, in my opinion.
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| Tess and Alec (Jason Flemyng) |
Jason Flemyng's Alec is also more detailed than Leigh Lawson's portrayal in the 1979 film. There's no doubt that Alec was what he appeared to be the moment he showed up onscreen, but he did, in a very destructive and selfish way, love Tess as far as he is capable. The scene with the strawberry is much more upfront in being a sexual metaphor for seduction than in the earlier presentation, and yet, Alec was also charming and used his wealth to try to get what he wants. Flemyng is very convincing as both as the ne'er do well and the supposedly "reformed" preacher. The lengths he goes to get what he wants suggest that he mistakes possession for love (although he does admit that he was wrong to take Tess's innocence). He did seem hurt that he fathered a child who died in infancy and regretted that he couldn't have made a difference in the child's life. However, this revelation does fuel his obsession.
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| Tess, Alec, and Angel: the triangle |
The triangle is very apparent (as the above photo shows) and we see what it was that Hardy intended when it came to the men in Tess's life. This is true of some of his other novels as well. Female characters are often torn between a wealthy, powerful, and high society suitor and the down-to-earth, working-class or middle-class man who seems more in tune with nature. The latter is undoubtedly the right choice, but emotions, circumstances, and tragedy often prevents the right couple from finding each other at the right time. The sense of heartbreak is very much in evidence, and I was so saddened when I realized what happened to Tess as the final credits rolled.
The latest version, a four-part 2008 BBC miniseries, has gotten mixed reviews, praised by some for the acting and the somewhat modern take on the story but derided by others for taking too many liberties and for its supposed questionable characterizations. I do have some issues with it, but on the whole, I liked it, although it has some weaknesses. Filmed in widescreen, it does give more of a view of the landscape and the quality is excellent. Once again, it was filmed on location in Dorset.
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| Gemma Arterton as Tess |
I found Gemma Arterton's Tess a bit hard to take at first, perhaps in part, because she was playing a character younger than her age in the first episode. As time went on, she grew on me. She also has an English rose quality, and she does embody Tess with an inner strength despite the ordeals she is faced with. We see more of her parents in this version and just how her mother, in particular, manipulates and guilt-trips Tess into doing what she wants. It is often disguised as helping the family, but her mother doesn't seem concerned about how it affects Tess, her self-esteem, and her reputation among the locals. And in the Victorian era, the latter was extremely important regarding females, a strong indication of the hypocrisy of the times.
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| Tess and Angel (Eddie Redmayne) |
However, the miniseries is weakened in my opinion by the uneven performance of Eddie Redmayne. He was at his best in the final episode, but for the most part, he comes off as dim-witted. It was much harder to see the appeal of Angel or what made Tess and other girls fall in love with him. His hypocrisy is maddening, but so is his delivery of many of the lines. He seemed distracted, or even confused at times, and lacked conviction in the second and third episodes. I found myself wondering why Tess longed for him to return as I didn't miss him when he was offscreen.
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| Tess and Alec (Hans Matheson) |
Hans Matheson was, for me, the best Alec. As with Jason Fleming's portrayal, there was a strong sense that Alec, in his destructive way, loved Tess selfishly and had a need to possess her to obtain something that he lacked. Matheson displayed a vulnerability that made the character somewhat sympathetic, and it helped that he had a strong dynamic onscreen with Arterton. These two characters are doomed, and you really sense it here. Alec pursues Tess to the point of obsession, and you know that he's willing to do what he can to ensure that he will have her. Tess denied him and tried to push him away but circumstances led her to go back to him to make sure her family was provided for. Alec uses Tess's plight to possess her and of course, that can only end badly. And of course, it does. Matheson was off-screen for most of the second episode and his presence was missed.
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| Tess, Angel, and Alec |
The second-best adaptation, in my opinion. Some things could have been done a little better, but its strengths make up for most of the weak links. If you can handle the changes to the story and Redmayne's rather uninspired performance (for such a good actor, he really seemed out of his element here), you will likely enjoy it. The soundtrack is excellent and very moving.
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| Lobby card for the lost silent 1913 film |
There are lost adaptations. Two silent films, a 1913 production starring Minnie Maddern Fisk (often billed as Mrs. Fiske) in the title role, Raymond Bond as Angel, and David Torrence as Alec d'Urberville. Fiske had played the role on stage to great acclaim, and we can only wonder what the film was like. The second silent film version was produced in 1924 and starred two popular stars of the era, Blanche Sweet as Tess and Conrad Nagel as Angel; Stuart Holmes portrayed Alec. MGM studio head Louis B. Mayer insisted that the ending be changed, so Tess's life was spared. Hardy disliked this ending and made it known. Occasionally, lost films have been known to surface, often in foreign archives; time will tell.
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Poster for the lost 1924 film version
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There was also a televised adaptation of a play based on the novel aired in Britain in 1952, starring Barbara Jefford as Tess, Donald Eccles as Angel, and Michael Aldridge as Alec. There is very little information on this production and its availability. It is possible that it was destroyed during the BBC's now much regretted "wiping policy" of the late 1970s and 1980s in a misguided attempt to clear up more space in the archives.
I love Tess Of The D'urbervilles and appreciate efforts to capture it on film.
I've noticed that in recent years, the 1998 two-part miniseries (produced by the now-defunct London Weekend Television and A&E) has been overlooked in favor of the 1979 film and 2008 BBC miniseries, which is a shame because it is my favorite (the first that I saw) and probably the most faithful. Ted Whitehead adapted the novel and made a point of not watching Polanski's film. It was shot on location in Dorset and while it was made on a TV budget, it looks wonderful for a miniseries of that time; the costuming and music are great too. Justine Waddell played Tess with more pluck, yet she also displayed vulnerability and wistfulness. 
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