Customer Reviews

Tess of the d'Urbervilles

5 star:		(18)
4 star:		(5)
3 star:		(3)
2 star:		(2)
1 star:		(2)

 

 

That haunting song has been stuck in my head ever since I saw this four-part BBC miniseries. It was a stroke of genius to incorporate this folk tune into the soundtrack (composed by Rob Lane), which sums up the mood and aura of this tragic tale of a young woman wronged so unjustly by two men. Gemma Arterton is wonderful as Tess Durbeyfield, probably Thomas Hardy's most well-loved heroine, exploited by her ignorant parents into claiming noble heritage and discarded by 19th century society. Hans Matheson is Alec Stoke-d'Urberville, the wealthy cad who violates her, unknowingly impregnates her with a child who doesn't survive babyhood and later comes back into her life as a supposedly reformed preacher. Eddie Redmayne is Angel Clare, the seemingly kind-hearted and tolerant parson's son who wins Tess's love but proves to be just as hypocritical as his religious family and his actions bring Tess to despair. As in most Hardy tales, tragedy looms a large shadow over the lives of his characters.

Arterton's Tess is matched perfectly by Matheson's Alec, who is given more depth than any of the earlier film adaptations. The dark and tormented essence gives you the sense how doomed these two characters really are - their actions and words toward each other leads to their downfall. Unfortunately, the same cannot be applied to Redmayne's Angel, who looks befuddled and lost more than half the time. There is a rushed directorial pace in the second installment that hurts the romantic appeal between Tess and Angel, and the love story element seems a bit forced as a result. Because of that, I didn't get the appeal of Angel in this one, or why Tess and her fellow dairymaids were in love with him, or why Tess takes the desperate course of action in order to get him back. Some of the modern dialogue used did take away from the affect of the story, and Redmayne seemed to have a hard time keeping up with Arterton performance-wise. Redmayne redeemed himself somewhat in the final episode but for the most part I was unimpressed with him. However, director David Blair must take some of the criticism, as the hurried scenes to establish the "romance" seemed to skim over the parts of the novel that gave the lovers the attachment to one another that eventually leads Angel to see the error of his ways and beg his wife's forgiveness. I was anticipating Alec's return so much that I found myself not really caring if Angel came back for Tess or not. In sharp contrast, the 1998 A&E/London Weekend Television production had me rooting for Tess and Angel's reunion even though I was aware of the outcome. I was so taken by Angel in that one, whereas here I found nothing in him to be slightly attractive or romantic. I sympathized with Tess completely and neither man deserved her, but at least in the other version and the novel I could see why she loved Angel and longed for him to return to her. I found myself almost rooting for Alec (I never thought I'd say that), because Matheson was so compelling and magnetic and he and Arterton generated such electricity, I couldn't take my eyes off them. Alec's fleeting conversion to Christianity and his sermon in the tent that Tess stumbles upon is foreshadowing of the path these two ill-fated characters will end up on. The moment he lays eyes on her again, his fatal attraction and twisted love for her resurfaces and consumes him, and Tess finds herself increasingly helpless to refuse his help after her father dies and her family is left destitute. Alec's wealth is the only way he can possess her and he is aware of that, but he is willing to get her the only way he can, only to discover that fate does indeed play a vengeful hand. It was also nice to see Tess revisiting her child's grave and placing fresh flowers upon it; her deeply felt sense of loss and rejection by both the church and her village is searingly devastating because it becomes all the more clear that she is victim of both society (in which women had few advantages) and fate. Having said that, Tess and Angel's reunion did not have the emotional impact it should have had, the sex scene was unnecessary, but the Stonehedge sequence was an emotional powerhouse for Arterton, as was the climax of her walking off to her fate with her signature tune heard wistfully in the background. The supporting cast was in top form, and while the cinematography was lovely, it could have emphasized far more considering how important landscape is in Hardy's work, as both the 1998 two part program and Roman Polanski's 1979 film have demonstrated. As a four-part miniseries, it had the opportunity to include more scenes from the novel and insight into character, particularly Angel, which would have helped the plot a great deal. However, it was good to see the mausoleum scene and the ending was heartbreaking and moving, although my tears were for Tess, her sister Liza-Lu, and, dare I say it, even Alec, but I felt nothing for Angel (although Redmayne's tearful breakdown was by far his best moment).

On the whole, this was a very good presentation, my second favorite version and very much worth seeing. Arterton and Matheson give tour-de-force portrayals; it would be great if they would co-star again, some have suggested as Cathy and Heathcliff in "Wuthering Heights" - I could definitely see that. And that song will linger on in your memory long after the final credits have rolled, as will the rest of the score.

I've never read the book before, and this was my first time watching a film adaptation of this story. Its funny because I accidentally started watching it, but within a few minutes I found myself captivated by this movie. By the end of the first two hours I found myself hating Alec for what he did to Tess. However, near the end I almost started liking him, which really surprised me. Even though he was a bad person his character was a tortured soul. He cared for Tess as much as he could care for anyone. He even tried to make things right by marrying her. I actually felt sorry for him as she kept rejecting him. I knew that he had never changed, but I felt that he really did care for her. Perhaps it was more so lust than true love that he had for her. I also felt sorry for Tess. I felt sorry for both of them if that is possible. I didn't quite understand the whole mistress thing though. I came to the conclusion that he wanted to marry her, but he couldn't because she was legally still married to Angel. She was his only lover though, so in theory they were married, but just not legally. Perhaps Alec didn't deserve death either. He told her that her husband wouldn't come back, but even Tess thought he wouldn't come back. I didn't think he was coming back either. I understand that she was exacting revenge upon the man who had essentially ruined her life. However, she also played a part in her own destruction. I felt her biggest downfall was telling Angel about her past. I suppose that was part of her characteristic purity. Angel was not as effective of a character as Tess, or Alec. I didn't hate him, or like him much. He was a wet mop of a character. His weakness was interesting though because it almost made it seem that Alec was more in love with Tess, or at least more passionate. Fate played a large part in everything else that happened to Tess. It seemed as though the murder of Alec was her way of finally taking fate into her own hands. Anyway, this movie had me crying for quite a while. The ending where she recreates the May Dance scene was also tragic. The only way for her to have had a happy ending would have been if Angel had fallen in love with her before she fell from grace. I took peace in the fact that at least she was set free in the end. In any case, this is a haunting story that lingers in the mind.

An outstanding performance by Tess and Alec, gorgeous scenery and costumes, stunning BBC classic. Loved it! Already have it pre-ordered for the release date. Alec- Hans Matheson- fabulous evil & tortured soul has been seen in some of his other works (The Virgin Queen & Mists of Avalon), I think he truly soars in this production. Tess is wonder, sweet and tragic, proud and practical all in one. Gemma really captures this. I did not like Angel, there was just too little chemistry, and often thought, why was this actor cast in this role?. Either way, this DVD is well worth every minute. Excellent production!

Gemma Arterton is fantastic, if not perfect, as Tess in this new TV Film version of Tess of the d'Urbervilles.

As a male viewer (Yes, I was sucked into this film as I started to watch it with my wife) I certainly gained a greater appreciation for women. I cringed at just how awful men have treated women throughout history. I can't decide who I hated most, Alec or Angel. I think they both provide examples of how NOT to treat the women in your life.

Although in many ways it's extremely depressing, I still highly recommend this film. It contains a lot of important messages about forgiveness, tolerance, and love. It was also great to see the up-and-coming actress Gemma Arterton's wonderful performance.

"Tess of the d'Urbervilles" is one of my favorite books, and Tess is I dare say my favorite literary character. I loved the 1998 adaptation of "Tess" as soon as I saw it, and I was really excited to see if this newer, longer, (hopefully) fresher adaptation could possibly improve on an already beautiful version. At the same time, I was preparing myself to try not to dislike it. Happily, I can say: though it's still not a definitive adaptation, this version definitely holds its own.

Things "Tess '08" got right:

1. A great Tess
Gemma Arterton makes this character her own. While Justine Waddell's Tess was delicate and sensual, Arterton plays Tess with more bite. Both are valid interpretations of the character. Both, however, also excel at the highly emotional scenes. Tess is a sympathetic and brilliant character and Arterton definitely does the role justice

2. Very strong supporting cast
Though I still like the supporting cast of the '98 version more, I loved this version's portrayal of Tess's friends Marion and Izz. Tess's family members were also well chosen, and everyone at Talbothy's diary was great! Hans Matheson's portrayal of the morally ambiguous Alec d'Urberville is particularly noteworthy.

3. An extremely strong last half
While it has its rough spots, the whole movie is worth it for the last hour. It's an emotional rollercoaster. I challenge you not to get an ache in your heart.

A few things that did not please me:

1. A disappointing Angel Clare
Eddie Redmayne just did not do it for me. I was never convinced by Tess and Angel's romance, and the actor who played him was just...dull, and seemed slightly dim-witted.

2. Extremely changed scenes and awkwardly filmed scenes
Hello, "it's too late" scene, anyone? It was almost unrecognizable.
Sometimes, throughout the movie, the dialog got a little strange, or the pacing seemed a little off. Either too abrupt, or too drawn out.

Some final words:

This 2008 version had many good things going for it, particularly Gemma Arterton as Tess, and it had some great scenes in there, most notably the mausoleum scene and Stongehenge scene. But a weak Angel (Waddell and Milburne were sizzling together) and some awkwardly filmed scenes prevented this from being a terrific adaptation. Basically, the last episode redeemed the entire series; I can't gush enough over how good it was. BUT, overall, this was a weaker adaptation compared to the '98 (my personal opinion of course!) because of the pacing issues, added/changed lines, and imperfect casting choices. The fourth episode was by far the strongest, with Part 1 and Part 3 following.

I really enjoyed watching this mini-series, though, and I appreciate the effort to stick to the story and stay true to the characters. Now, if only one of the adaptations would include the pheasant scene!

Having just read the book for the first time since college (some 25 years ago) and having seen the Masterpiece Theatre presentation in January, I was struck by how closely this new adaptation mirrors Thomas Hardy's original novel. Every important scene is re-created, and Gemma Arterton very much becomes Tess as I imagine Hardy himself must have envisioned her. As others have noted, the character of Angel Clare is poorly represented, but that in no meaningful way detracts from the power or indeed the visual beauty herein. The landscape is stunning, the cinematography renders the atmosphere just right, and the overall effect will stay with you long after Tess's story has reached its fateful conclusion.

Thomas Hardy's Tess Durbeyfield has had at least three film reincarnations in the last thirty years. All of the women portraying this woebegone heroine are beautiful--Nastassja Kinski in Polanski's feature film "Tess (Special Edition)," Justine Waddell (Dracula 2000) in the 1998 BBC production for television (Tess of the d'Urbervilles) and now former Bond girl Gemma Arterton (Quantum of Solace) in this latest 212 minute version in four parts. One thing for certain, all three of these women know exactly how to eat a strawberry with all the innocence and inadvertent provocation that would surely drive any man--from any century, repressed or not--mad with desire.

Not since Nastassja Kinski has an actress depicted such naïve sensuality, as does Gemma Arterton as the ill-fated Tess. Even without speaking, Arterton epitomizes vulnerable femininity with her lovely porcelain complexion set off by long tresses of dark brown hair, punctuated by full red lips and warmed by the fathomless brown eyes of a doe. Yet this reliance on the physical to embody the spirit of Tess by no means suggests that Arterton's performance is vacuous. Perhaps her youth, like that of the character she is portraying, works in her favor--but it is her ability to bring to the surface that quality of sweet innocence that puts her in almost the same category as the alluring girl-woman Kinski.

Waddell's Tess, although beautiful in another way--remember her portrayal as Estella in Great Expectations (Masterpiece Theatre, 1999), seems feistier, more knowing and less susceptible to the wiles of the mesmerized yet confused men in her life. Perhaps, her eyes do not convey the same wonder at the dualities of the world. Waddell's Tess already seems primly aggrieved by the trials and tribulations of her life; her face reflects her accrued experience.

Similarly, the other actors in this ensemble will work or not work for you depending on the extent of your familiarity with and expectations of Thomas Hardy's characterizations. If you like your Tess sweet, vulnerable and undeniably attractive, then Arterton will amply fill the bill. Hans Matheson, as the despicable Alex Stokes-D'Urberville (black-hearted misunderstood Mordred in The Mists of Avalon) undeniably personifies the dastardly qualities of the villain with a sneering, not at all self-deprecating, self-acceptance and `who cares?' arrogance that seems true to type. However, this reviewer found his reappearance and reinsertion in Tess's life a little hurried. Indeed, the audience understands the feeling of obligation that Tess once felt for her family at the opportunistic prodding of her mother, but I didn't think this sense of resignation was adequately portrayed simply because it was allotted little screen time. On the other hand, the behind the scenes glimpse through the keyhole of the boardinghouse as Alex and Tess argue as seen through the eyes of landlady, Mrs. Brooks spectacularly depicts the depravity of the cruel life Tess reluctantly endures with Alex.

The role of Angel Clare played by Eddie Redmayne (POWDER BLUE, The Other Boleyn Girl) at first seems miscast. However, his innocent scenes of love with Arterton's Tess, are bucolic to behold. Filmed against lush fields and mooing cows, the audience sees and enjoys the purity and magnetism of the halcyon days of first love. In contrast, Angel's hypocritical withdrawal from what could have been a wonderful life of committed sharing in another part of the world appears all the more marked as does the increased emotional release Redmayne's character must expel as he ricochets from feelings of impending doom and the simple joy of being at long last with the woman that he loves. Redmayne's oddly shaped face showcases a boy becoming a man--possessing the same brand of innocence as his Tess. His struggles to be of the world and above the world mature him yet do not defeat him.

Other characters of note in this production are Tess's three milkmaid friends and the heartlessly cruel Groby (Christopher Fairbank) whose mere presence had this reviewer shuddering in trepidation each time he appeared on the screen. In addition, Ruth Jones, as Tess's subtly scheming mother, portrays with distinction a conniving opportunist willing to use her daughter to gain financial happiness.

Bottom line? The 2008 BBC presentation of Thomas Hardy's "Tess of the D'Urbervilles" successfully conveys the storyline and emotional impact of an impoverished woman's plight in the late 19th century. Gemma Arterton looks as if she could walk right out of a Monet painting; her beauty palpably represents the innocent insouciance of Hardy's Tess--a girl child in a woman's body. Her male leads do not overpower her, but set off her desire for love and her innate naivety from both ends of the spiritual spectrum. Viewers who have not read the novel be cautioned that all ends badly despite the audience's best and most hopeful wishes. Recommended to all lovers of the Masterpiece Theatre genre as a faithful adaptation of Hardy's classic tragedy.
Diana Faillace Von Behren
"reneofc"

This story has so many layers, every time you watch it you will add another dimension to what you have seen...from the open symbolism of nature, fertility, youth, and innocence, to the subtle use of clothing, colors, lighting, and even the names of the characters. The obvious issues of chauvinism and societal 'standards' will have you throwing things at the screen. You'll cheer Tess when she finds her voice and tells her mother 'what for' and wonder where it went when she submits to the control of others. Even with her awful life, Tess keeps going, keeps hoping, to the very end. I haven't watched another version...this one is haunting enough. A rich story of a poor girl and a considerable social comment considering it was written in 1891. Thank you to the producers of this film.

A must see movie! Gemma Arterton who plays Tess is a truly talented actress. She makes you feel as if SHE is Tess and you are watching her story happen right now in real life. Alec D'Urberville (Hans Matheson)is a true villain - and Angel Clare (Eddie Redmayne) is the perfect gentleman with a pure love for Tess. This is a truly heart wrenching tale of love and loss, finding the strength to move forward, and most of all forgiveness.

I loved this film on so many different levels. First off the actors were amazing, especially Gemma Arterton in the lead role as Tess Durbeyfield. I am not sure why some reviewers prefer Justine Waddell's performance from 1998. The clips that I have viewed of it on YouTube show a very subdued almost wooden Tess, whereas, I loved Gemma's voice and feistiness. Perhaps that is not what Mr. Hardy had in mind for the heroine of this tragic tale, but it works beautifully in 2008. I thought the musical score by Rob Lane was incredible as well as the cinematography and the wardrobe, this in spite of a mysterious fire that destroyed most of the costumes before filming started. I will definitely purchase this DVD for my collection.