The movie "Tess" made me see the honesty, self-esteem and faith that are difficult to see in the world today, and I like the book "Tess of the D'Urbervilles", and of course I like this high-quality film, probably because the director's level and artistic style are too prominent, and the performance is not very outstanding. But I think that this film not only allows the audience to witness the beautiful "scenery" in the novel, but also allows the audience to successfully feel the "soul" behind the lens of the film – after all, there are many things in this film: honesty, purity, self-esteem, and faith, which are difficult to see in the world today.

The book "Tess of the D'Urbervilles" by the British literary hero Hardy has a very high place in the hearts of literary critics and readers, and it has been adapted into film and television works many times, the most famous of which is the film "Tess" by Polish director Roman Polanski - it is enough to see his film. The film not only received two nominations for the 1981 Oscar for Best Picture and Director, but also a film shot nearly half a century ago, and today, when I watch it, there is still no sense of violation.

The film has many advantages, the cinematography, art, and soundtrack of the whole film are integrated with the film, and the performance is quite outstanding. The composition of each frame of the vast majority of scenes is the world's top painting level, which is pleasing to the eye.

From the beginning, a group of white-clad girls approached with songs and dances in the blue sky and green fields under the setting sun - there was a widescreen and a mature long shot in 79 years.

The film made natasha Kinsky, the heroine who was only twenty years old at the time, famous in one fell swoop. It is said that Kinsky is really beautiful and special - the facial lines are obviously resolute, but they have a girlish demeanor, ignorant, and their complexion seems to be shrouded in fog, which is particularly fascinating. At this time, she was still a pure and immaculate girl.

Polanski has a unique side, he visually reproduced the original work perfectly, full of classical style photography, from the interior drama to the large panorama shows a variety of gorgeous, the set costume is even more beautiful, but not at all noisy - the most classic and most evocative, the bones are still cold and restrained.

You won't be bored with this movie at all, a lot of the pictures are retro and have a sense of substitution, and soon your whole person will be taken to the big screen, following Tess's fate and drifting away - it's so beautiful.

Tess is going to run to the broad relatives, there is a young master in the family, can also be called "cousin" Akré, is a standard playboy, as soon as he sees Tess, he is attracted by Tess's beauty, he is generous, showing all kinds of thoughtfulness - in the original book, Acrey is always a kind of possessiveness for Tess with lustful thoughts about her body and beauty.

At this time, Tess was a standard village girl, unguarded against people who were simple and wooden... Some people have commented that Kinsky's play of Tess is always an expression. But I think that Tess, who went out to visit strange relatives for the first time, should be like this, and a teenage girl should feel like this.

At the first meeting, Akré completed the initial temptation with a strawberry... Eating strawberries is so sexy: strawberries and Tess's delicate red lips shine together – this is the forbidden fruit.

Girls who are given poor and beautiful by God at the same time are almost born tragic embryos—in fact, from the very beginning when Tess's father learned that he was a nobleman, the bane was planted.

The hope of being able to get the legacy from the ancestors for nothing is a sense of inertia and dependence that is deeply hidden in everyone's heart. And because of the material embarrassment of the lower classes, they need to be relied on and soothed from the attachment to the upper classes. This attachment task is done by their eldest daughter, Tess.

With two parents who always want to get something for nothing, Tess's fate is doomed to be unfortunate.

Tess has six younger siblings, the eldest of whom is only 9 years old, which also paves the way for her to become the irreplaceable mainstay of the family after her father's death.

Tess's beauty is indeed the only capital, but only by selling it can it be exchanged for profit, isn't it?

Tess officially went out with the hopes of the whole family to recognize Akré's relatives. However, her beauty did not bring her happiness in the end, but made her step by step into the abyss and despair.

In front of the unlearned, purely upstart Yacre, Tess is just a young girl who is not deeply involved in the world, she has her own pursuits, has thoughts, and has no common language with Akré.

Akré only believed in using substances to open the way, and he gave Tess's family some help, but this was not a good deed, only a compensation for Tess or a means of pleasing Tess. He looked everywhere for opportunities to approach her, and was very gentle and considerate from beginning to end, until the final possession, and Alec was only nostalgic for Tess's beauty.

The scene of Akre seducing Tess makes people sigh, in that era, women were already vulnerable, young and ignorant, cowardly and weak Tess, from beginning to end was passively victimized.

Many commentators have questioned why Tess doesn't love Akrey, because the latter seems to be good to her, and why can't Tess willingly live with him?

This kind of questioning is simply ridiculous! What woman would fall in love with a rapist? Where is this love? Clarity is a nightmare of a lifetime.

But at the time, Tess was also blinded by Akre's appearance—he was undoubtedly a rogue, but he was also a real villain, much better than a hypocrite. Moral issues aside, Akré's attitude to life is actually very charming. Afterwards, he treated her very well, dressed her up, took her to play, and for her pleasure, and she quickly confessed her life and became his mistress.

This picture is the cover of the popular film magazine of that year. Kinsky himself needless to say—that kind of shocking classical beauty. She was the age of a flower when she made this film, and she was as fresh as a flower. Kinsky's performance is restrained and restrained, blending with the calm and sad tone of the whole film.

But Tess eventually left, quietly escaping from Akré—not in pursuit of material independence. Quite simply, she doesn't love him, so she doesn't want to be so stubborn and stealthy!

With instinct and intuition, Tess has a strong commitment to the purity of the individual, which runs throughout the text and film.

The "cousin" who chased after her seemed to be affectionate and righteous, although he despised women in essence, but this guy was very honest - I looked at your beauty and body, you gave me, I also gave you the same return, not at all.

In modern society, about a lot of girls will follow the big young master, but Tess refuses again.

She never thought of using her flesh for happiness—at first her relationship with Akré stemmed from her ignorance of love, but when she realized that she had no love for this man and was on the oppressed side of an unequal relationship, she chose to leave decisively.

Tess returns to her family, back to the old days she is familiar with, and this autumn harvest is a Picture of the Victorian Countryside, meticulous in detail and without a single superfluous shot.

Filled with the natural scent of sunlight and earth, Tess blends perfectly with her surroundings, and the ensuing country labor is reminiscent of Miller's simple and lovely farmers, the last illusion before the collapse of the primitive era.

The film adopts a jumpy approach to the plot of the heroine's fate. The first time Tess parted ways with Akre, the camera turns and she already has a child in her arms.

- Tess, who did not communicate with Akré after pregnancy and was willing to do hard farm work, was more like her atonement for her own spiritual and physical sins.

She is not rebellious, she is a nobleman in the spirit of the bones - the novel is arranged in this way, I feel that it can highlight the complexity of the characters more, and make the characters more full. The film also makes people feel that Tess's tragedy is caused by society on the one hand, and on the other hand, she pursues her own ideals and pays a heavy price in the struggle against fate.

Tess eventually leaves Akré, and after the death of the child she gave birth to, she goes to work at the milking farm and meets the love of her life, Angel, the name of the angel. There, the two fell in love at first sight.

Here, we once again understand the most brilliant pictures of this movie, some of which are breathtakingly beautiful, and some of which are extremely far-reaching.

If Akré represents matter, Angel represents spirit.

Angel was a utopian idealist who gave up the opportunity to go to college to learn farm farming and wanted to build his own farm in Brazil. And he despises the feudal aristocracy and the avant-garde – in fact, such Angel cannot be the real salvation of Tess.

He was obsessed with Tess, but what he loved was the imaginary Tess—fresh and beautiful, the embodiment of nature, not very well educated, but able to speak very philosophical words. This doomed him from the bottom of his heart to escape the influence of traditional morality on him- hoping that her wife would be a pure virgin.

The passage of holding Tess across the river shows Angel's feelings for Tess very vividly, and he quietly said to Tess, I hugged them both for you. Their love begins with this embrace—the overall feeling of the film is the poetry and literature of the film's lens.

Tess and Angel's love is genuine, but Tess begins to feel sad. She wanted to confess her past to Angel—because she loved him, wanted to confess everything, and she longed for his forgiveness to wash away the wounds in her heart.

Tormented by this secret, Tess wrote a confession letter and placed it under the carpet in Angel's house, hoping that Angel would see it and hand herself over to the other side for the judge.

Whether or not to confess your own secrets to your loved ones, my point of view, in short, confession is not impossible, but if you don't want to lose the person in front of you, you must not have anything to say - if the person is too sincere, but weakens the gold content of sincerity, in the other person's point of view, your sincerity seems like a provocation - you force me to say "it's okay" in order to test me, this thing that anyone will be uncomfortable with, is this fair to me?

When Tess discovers that Angel has not read the confession letter, a large flash of dazzling white light flashes in front of the screen, and the audience can feel the dizziness in her mind very directly and strongly, which is an effect that words cannot give. It can not only lose the taste and connotation of the original work, but also give full play to the advantages of light and shadow to achieve another level of artistic appeal.

This is the shot that best embodies the artistic characteristics of cinema – and this is how a good film adaptation should be.

Until she walked into the marriage hall, Tess's heart was still hanging in the air.

Sure enough, Angel, who regarded Tess as a goddess, as soon as she heard about her history—she had lost her body and had a child—she immediately changed her face, completely forgetting her own absurdity.

Angel's words later felt so selfish that they felt cold, and this man really embodied the characteristics of some intellectuals who thought they had a spirit of benevolence.

Unclean himself also demands Tess perfection!

In Akré's conception, the way to receive love is to give a woman material dependence; in Angel's conception, a man can have a ridiculous past, but a woman must be absolutely chaste.

People are most afraid of being fished up in despair and then thrown down. Angel, named Angel, was the one who hurt Tess the hardest.

Every action and judgment of Tess is made through self-awareness and intuition. She is going to marry someone who loves, and when she feels her husband's resistance, although she is sad in her heart, she still subconsciously wants to withdraw and leave.

Angel actually agreed to Tess's return.

This makes people feel that he does not love Tess either, and like Akré, he covets Tess's body, otherwise he would not abandon her because of the impurity of Tess's flesh.

If you think from the good side, he has a spiritual purity and cannot accept it for a while; from the bad side, he is selfish, hypocritical and cowardly, and the so-called inability to let go of his faith is just a fig leaf.

Claire, who seems to have an open mind, did not understand Tess, but because she could not bear the blow, she traveled to Brazil alone.

In this way, the beloved Angie failed her, and the delicate and susceptible Tess was physically raped by Akre and mentally ravaged by Angel. Love, let Tess scarred.

Their dilemmas and problems seem insignificant today, but combined with their time, the Victorian moral concepts of the mid-to-late 19th century contained a high degree of moral integrity and meticulous language and code of conduct, while Tess and Angel were both limited by themselves and limited by the times. :

Humiliated and damaged, Tess returned to her former work. Hard work in this cold winter day, poor working conditions. Every time I think about it, I feel extremely sad, but it is not the kind of sadness in the ordinary sense, but a kind of feeling that arises as if looking at the endless wilderness.

Kinsky's outfit fits very well with the image of Tess in my mind. No matter how ordinary she dressed, no matter what she encountered, she was always beautiful and otherworldly, and her eyes were always so innocent and clear.

There are many versions of the film Tess, and in my eyes, Polanski's film has the most beautiful version of Tess—the incomprehensible absolute loneliness that lies in Tess that makes her not belong to that era or even surpass any other era.

Rural life in the period of industrialization in England was degenerate, and the operation of the agricultural machinery intensified the exploitation of the lower classes by capitalist society, and Tess lived in the transition stage of local society and industrial society.

What impressed me very much was this threshing machine that Tess worked hard.

The machine was deafening and running endlessly, and Tess was responsible for filling the bales of wheat into it continuously, which was an overload of physical labor, how could a man catch up with the speed of the machine? Even the man was exhausted, and Tess, who was extremely exhausted, photographed this tragedy meticulously and without losing its original taste, which was simply perfect.

The ghostly Jacqueré suddenly came after him.

It should be said that this encounter evoked his lust that had only been hidden but did not disappear, and from this day on, Akré began to haunt Tess endlessly.

The film inevitably portrays the image of Akré a little too affectionately. So why is this guy like this?

I think the key is still in Tess, Tess she has never been beautiful and proud, nor does she want to rely on beauty to seek money, status, and power, so the attitude is not humble, not flattering, not pretentious, such blunt and simple but stimulates the desire to conquer men who crush her in economic status.

At this time, Tess, if she had the slightest sophistication or shrewdness, would not end up in such a tragic end. But she was pure and innocent, true to her heart—who held on to purity like her? Can't help but admire.

This proves that by using material things to conquer Tess's family and her love, Tess has never been able to fully love him.

Tess does not love Akray, this is the most touching place of the heroine, hate is hate, love is love. Not changed by anything else.

It wasn't until late at night that Tess began to eat a very simple dinner. This oil-painting-like lens makes me feel a lot of emotions.

I feel that Tess is in loneliness and silence, slowly chewing and drinking water slowly, this set of shots perfectly shows Tess's self-esteem, stubbornness, courage, and persistent personality.

The rejected Akré actually appeared again, and when he again advised Tess not to be stubborn and insulted Angel with language, Tess suddenly punched him in the face, so that Acrylic said the truth: "Remember, Miss, no matter who you marry, I used to be your master, and I will be your master in the future." ”

This proves that Akré repeatedly uses money to blackmail and bribe, does not really respect Tess's personality, and also shows that Tess's life has no choice - she is not easy to choose bravely, and she is only thrown around in the palm of a man's hand.

In front of Akré, a symbol of money and power, Tess is just a lamb without the power of a chicken, especially after the death of her father and the family living on the streets, Angel has never heard from her, and Tess has no choice but to enter the tiger's mouth.

Tess, who had nothing, finally gave in.

Angel, whose mind was gradually open, finally returned from Brazil, and finally realized that Tess was the most worthy of love.

But this love came too late and too cramped, and everything was irretrievable.

Tess had vowed never to forgive again, but when Angel came to the door again, Tess couldn't help it.

The knife on the table was dangling, and I knew what it was foreshadowing.

The incident of Tess killing Akre, many people feel a little inexplicable, how did Tess suddenly break out?

But I think it is very clear that the so-called "cousin" has a terrible spiritual insult to her so-called help, and she is just a plaything. He never saw her as a "person" who communicated as equals. He seduces her, he makes fun of her, he is giving alms from on top!

Perhaps in some people's minds, no matter what Akre has done, he is not heinous after all, but also a living life. In any case, Tess killed people and committed extreme acts without rational means.

But when her dignity is trampled upon, it's normal for her to do anything.

Tess eventually catches up with Angel, who is leaving by train.

I admire Tess's actions: after years of being at the mercy of others, she has become bold, tenacious, assertive, able to kill unloved men, able to escape from true lovers, and able to make active choices about her own destiny.

This is a sincere, creed-based, hard-hitting, explosive and action-packed girl, and the author Hardy deliberately creates a personality that wants to break through the darkness and elope with her husband at the cost of killing her lover.

So it wasn't hate for Akre who destroyed Tess, but love for Angel.

The bloody skirt horn was an outburst of pain that had accumulated for a long time. It is also the loneliest declaration of yearning for freedom and pursuing happiness.

With the rise of modern love, new women may have never been so purely dedicated to love.

The days of escape are very poignant, maybe the film's play does not reach the top level, but you have to admit that the artistry of this movie is too high, and the scene of resting by the Tess River waiting for Angel is simply a beautiful world famous painting, and this kind of textured film cannot help but make people fascinated.

Breaking the world with extreme behavior may only be a short-term pleasure. But Tess tells us how to love with her actions: to love someone, to love with her own life.

The thick fog, the darkness, and all the affectionate or sad stories that happened here also deeply enveloped my heart.

Tess and Angel had a love affair during the days they stayed in an abandoned apartment. Although they are a pair of outlaw partners, the film does not show it as the torrent of the apocalyptic carnival, but the two people who have experienced the great storms and waves cherish each other gently and carefully, and cherish the hard-won time between each other.

The scene in which Tess is finally arrested is left to Stonehenge, where "everything is virtual and everything is allowed."

"Stonehenge" has a deep religious allegory in British culture, symbolizing mystery and power.

This altar-like place gives a mysterious, cold feeling, and a round of sun rises through the abrupt and cold altar, a metaphor for hope, and the director ends the scene with warm tones and light.

A red tess lay on a boulder as if it were a victim of an era, and the scene of a deep sleep was shockingly poetic—she refused to be the prey but she became the prey again, she didn't want to be abandoned but she was abandoned again, and in the end she embraced herself.

In the final shot, the sun rises as usual.

Tess calmly walked towards her destiny, and everything died with the wind.

Finally, in the morning mist, the mounted police lead Tess and his wife xu far away, which constitutes a very seamless care with the beginning of the movie. It's just that Tess's clothes have changed from white to blood red. A stubborn, tenacious, innocent and beautiful girl is hanged by the combination of power, class, religion, and social ethics, but all the consequences have been relieved.

Although the three hours of watching the movie are long, they do not give people a feeling that the scenes are very protracted, and the director's rhythm control is very good. It is too difficult to adapt this script just for famous books, but the degree of completion is good, and Polanski's film is indeed deserved, a classic masterpiece!

<h1 class= "pgc-h-arrow-right" > I like the book "Tess of the D'Urbervilles", and of course I like this high-quality film, probably because the director's level and artistic style are too prominent, it seems that the performance is not very good. But I think that this film not only allows the audience to witness the beautiful "scenery" in the novel, but also allows the audience to successfully feel the "soul" behind the lens of the film – after all, there are many things in this film: honesty, purity, self-esteem, and faith, which are difficult to see in the world today. </h1>