Tess

msmichel

Had the chance to see a re-mastered issue projected at TIFF lightbox representing my first viewing of the film since the eighties. Polanski offered a mostly faithful if subdued adaptation of the Hardy classic with the contributions of the artisans involved often overcoming the performers. Kinski makes a fine Tess evolving from timid peasant to firebrand over the 3 hour runtime. Winner of 3 Academy awards.

ASHES IN THE HOURGLASS

I don't really know what to conclude. It has moments of affecting drama and is constantly beautiful (Nastassja Kinski is a screen goddess). However, the length seems unearned with sequences that evaporate in my memory and most male characters are just complete douches. Even other feminist films at least give their male characters SOME dimensions. Still, overall, it's worth watching.

Dzimas

I thought this was one of the most successful adaptations of a novel to film. Kinski was perfect as Tess, and the film moved with the same beautiful pace as the novel, bringing the story just as evocatively to its tragic end.

Roscoe

A surprisingly lifeless affair. Subpar performances, with Peter Firth's reptilian Angel Clare setting some kind of standard for sheer Implausibility as a Romantic Hero.

Phil Worfel

Absolutely beautiful in all aspects. I can't speak to its fidelity to the novel in regards to its translation of characters or plot to the screen but most of the talent bring a lot to their respective roles giving the film a vital quality while maintaining a deliberate pace. Kinski does an admirable job and makes good choices but doesn't bring much range to the character. Still a striking beauty on the screen.

Stian Gledje Bekkvik

I know about his dire background, but I still cannot imagine a grain of wheat between Polanski's fingers...

n/a

Polanski’s grotesqueries recede to subtleties and Kinski, with a storyline reliant on tiny narratorial incongruities: the contrast of the tranquility of the countryside alongside the inner turmoil of the characters; the profusion of crossing paths, roads, intersections, entrances, and exits; and at last beginning with the end credits, signifying from the outset some haunting irrevocabilities...

A47

"Why not make the most of life?" This one really needs a restoration. Entire conversations in the silence. Polanski's Barry Lyndon; his fullest exhibition of female existentialism. Cocks and nipples litter the first half. Good old fashion rejection goes a long way -shitty honeymoon. "All is vanity." No, not even toil can free you from your pedigree. See, life is hard for the beautiful.