Reviewed by Glenn Erickson
Roman Polanski's major literary adaptation is a departure from his previous filmography, but
not a radical one. Tess of the d'Urbervilles is endearingly true to both her 19th century origins
and Polanski's overriding themes of innocence destroyed and universal oppression. Curiously,
the previous Polanski movie Tess most resembles is
The Fearless Vampire Killers,
another tale of woeful idealists lost in a hopelessly cruel world. Tess's richly colored
English countryside is a place where the wealthy prey upon the poor as if it were the
natural order of things. Our virtuous heroine learns to her woe that honesty and a true heart
count for almost nothing.
Penniless Mr. Durbeyfield (John Collin) is told by a parson that he's a descendant
of the d'Urbervilles, a noble line long since fallen. His daughter Tess is dispatched to the local
d'Urberville mansion to ask for charity and is given a job by the dissolute Alec d'Urberville.
After he seduces her, Tess flees back home in disgrace and dismay. She later finds a
happier job at a dairy farm and falls in love with Angel Clare (Peter Firth), an idealistic
preacher's son. But Tess' determination to be honest with Angel about her past causes her
no end of grief.
Tess Durbeyfield is cursed by the discovery of her family's noble past. It's the last thing her
ne'er-do-well father needed to know, as his newly-found pride is a convenient excuse to stop
being even minimally responsible for his family. Tess is expected to wheedle the cost of a new
horse out of distant relatives. They turn out to actually be named Stokes, having bought the
d'Urberville title years ago. Old Mrs. d'Urberville is a blind, dotty nut who likes to pet her
chickens, and her son Alec leverages every advantage of his wealth and security to possess girls
like Tess. She's totally unprepared and easy prey for the dishonest cad. Pregnant
and betrayed by her family and the church, she's one of Polanski's tragically isolated
Tess builds upon themes from Polanski's short films Mammals and
The Fat and the Lean: People will always exploit other people if they can get away
with it, and most of the exploited will accept the injustice. As in The Fearless Vampire
Killers, the "bad" element that wants to despoil the world for its own selfish ends is
just doing what comes naturally, sucking blood or demanding rent. Tess lives in a civilized,
beautiful country where a woman outside the narrow bounds of social acceptability is at great risk.
The rich ride in coaches while ordinary milkmaids must deal with muddy roads blocking
the way to church. Not going to church is unacceptable. Arriving at church in a muddy dress is
unacceptable. Allowing a young man to carry you over the mud is doubly unacceptable. The rules
of goodness are just another source of oppression.
Tess Durbeyfield eventually goes down to defeat, cursed by her father's pride and
her own beauty. She's also victimized by gullibililty, bad luck and the need for honesty
and truth in her life. She divulges her past to Angel, who she mistakenly thinks is worthy of her.
Bad timing ruins her second hope for happiness, and again Tess states that she wishes that she
could die, or that she had never been born.
Tess is an intimate epic that creates a 19th century world where progressive threshing
machines are transforming an ancient landscape. The beautiful cinematography doesn't resort
to pretty pictures for its effects, and Philippe Sarde's romantic music almost seems to be
mocking Tess' pain and suffering. Polanski uses
uncommon restraint when it comes to scenes of a baby's death and a murder. The latter
is represented only by a bloodstain on a ceiling.
The acting is uniformly excellent, with Nastassia Kinski's heroine an alarmingly wonderful find.
Peter Firth is appropriately dreamy as the young idealist, and Leigh Lawson memorably domineering.
The rest of the accomplished cast play an assortment of typically isolated and confused Polanski
characters. Suzanna Hamilton has a special moment as another milkmaid who loves Angel from afar.
Columbia's Special Edition DVD of Tess features a fine enhanced 2:35 transfer, richly
colored and marked only by an errant scratch or two. The added extra is a lengthy (70 minute)
Laurent Bouzereau documentary broken down into three parts. Numerous crewpeople and actors are
interviewed and both author Thomas Hardy and the mostly French production are covered in fascinating
detail. Ms. Kinski was only 17 at the time, and the director describes the process of getting
clearance from his French producers to let a German girl play a classic English heroine. Writer
John Brownjohn tells us his dialogue rewrite uses the correct local dialect - he lived
only a few feet away from the real English pub described in Hardy's novel.
The packaging is a plain keepcase bearing images of Nastassja Kinski that don't do justice to her
beauty. Columbia's liner notes give away practically every detail of the story, and misspell Ms.
Kinski's name in the bargain.
On a scale of Excellent, Good, Fair, and Poor,
Supplements: Three documentary short subjects by Laurent Bouzereau
Packaging: Keep case
Reviewed: September 20, 2004
DVD Savant Text © Copyright 2004 Glenn Erickson
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