Turner Classic Movies - Movie News. Tess (1. 97. 9), Roman Polanski\'s film adaptation of Thomas Hardy\'s 1. Tess of the D\'Urbervilles, has in 2. Blu- Ray and DVD release from Criterion. Restored by Pathe under the direct supervision of Polanski himself, the movie looks and sounds magnificent. At first glance, the lushly beautiful Tess is a seemingly unusual work for Polanski, whose films we tend to associate with horror and sex, but this was actually a highly personal project for the master filmmaker.
It was his first picture after fleeing the United States in 1. Sharon Tate, had suggested he make as a vehicle for herself - - just before she was murdered by the Manson gang in 1.
Sydney Pollack, Director: Tootsie. Sydney Pollack was an Academy Award-winning director, producer, actor, writer and public figure, who directed and produced over 40. Here is an alphabetical listing of all the movies (so far) that have been certified as among the 366 weirdest ever made, along with links to films reviewed in capsule.
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Polanski read the novel after her death and realized it was indeed right up his alley, and he dedicated the eventual film to her with an on- screen inscription. Hardy\'s tale, to which the film is very faithful, is about a poor English girl, Tess, whose father learns he is a distant descendant of a once prominent, rich family, the D\'Urbervilles. He sends Tess to the home of a remaining D\'Urberville to find employment (or at least a handout), but Tess winds up being seduced by the ne\'er- do- well Alec D\'Urberville (Leigh Lawson), who becomes obsessed with her. Fleeing Alec, she eventually finds work at a dairy farm and starts a passionate relationship with a young farmer named Angel Clare (Peter Firth). But in this society, the revelation of the sins of her past, even if they were not her fault, could doom Tess to shame, ostracism and worse.
Ultimately, Tess is about a woman struggling to make her way in the world, looking for happiness, or at least survival, but finding that a judgmental society, timing and even luck are all working against her. Polanski explores this theme vividly, sympathetically and cinematically. Costumes, speech and physical mannerisms of the actors all convince the audience of the time period and of the distinctions among the social classes, and the film\'s pictorial beauty does much to stress the contrasting cruelty of some of the characters. Most important, one really feels the isolation of Tess throughout the film, which is at once sprawling and intimate. The plot itself, while important, feels less vital here than the depiction of Tess\' emotional experience of the world she is forced to inhabit, and as a result, the long running time feels entirely appropriate and never tedious. Tess was shot entirely in France, mostly on locations in Normandy and Brittany, because Polanski worried that if he traveled to England he would be extradited to the United States.
Name: Description: DVD Savant The Number One DVD reviewer in the business. Glenn Erickson has a rich archive at his site, filled with incisive essays on over 3000. Nina Foch, Actress: Spartacus. A leading lady of the 1940s, the tall and blonde Foch usually played cool, aloof and often foreign, women of sophistication. 110276 de 51249 Paulo 4872 do 40473 Brasil 38135 da 37863 Da 34422 US$ 2857 Local 19724 Reportagem 1770 Carlos 15055 Jos TCM Remembers Debbie Reynolds (1932-2016) Turner Classic Movies pays tribute to Debbie Reynolds on Friday, January 27 with the following festival of films.
Polanski later wrote, . The only way to convey the rhythm of his epic was to use that setting as an integral part of the film, signaling the passage of time and the change in Tess herself by means of a visible, almost palpable change in seasons. Once our rural locations were chosen, we would have to film throughout the year from early spring, through high summer, to the depths of winter. Freak weather and labor strikes only added to the overall time and expense. If Tess is atypical of Polanski, it\'s in the way that The Age of Innocence (1. Martin Scorsese. But in fact, both films are completely emblematic of their directors\' concerns and are indeed suffused with violence.
It\'s just that the violence is emotional, an undercurrent beneath a pristine surface - - exactly like the societies the films depict. That being said, it\'s hard to shake some of Tess\'s most exquisitely beautiful imagery, such as the lovely natural light of an outdoor dance, or the riders and dogs on a fox hunt who appear out of a sublime mist, or the face of Nastassia Kinski, who is heart- stoppingly gorgeous (a quality, incidentally, that is vital to the story). Cinematographer Geoffrey Unsworth, who had shot such films as Becket (1. Cabaret (1. 97. 2), died a few weeks into production and was replaced by Ghislain Cloquet, who sadly would himself pass away two years later. They shared the Oscar for Best Cinematography. The film also won for Best Art Direction and Best Costume Design and was nominated for Best Picture, Best Director and Best Original Score. Criterion\'s dual- format release contains one Blu- ray disc and two DVDs, with both formats containing the film and identical extras.
And there are plenty, starting with three short documentaries about the film\'s making (originally included in Columbia\'s 2. DVD release), directed by Laurent Bouzereau and totaling 7. Bouzereau expertly interviews key players like Polanski, producers Claude Berri and Timothy Burrill, co- writer John Brownjohn, actors Nastassia Kinski and Leigh Lawson, set decorator Pierre Guffroy, costume designer Anthony Powell, hair and makeup artists, the crew electrician, the assistant editor and others.
The artists discuss fascinating details of production, like the challenge of getting the . Powell is fascinating as he discusses his approach, and also about the little splotch of blood he put on the hem of Tess\' dress at a key point in the story, which Polanski shot for maximum impact. Burrill recalls that on location the filmmakers were only able to see the rushes days after shooting, rather than the next day, and not always under the best conditions. But gradually, he says, . I don\'t think there was ever one day when she fluffed a line.
She was word- perfect, always. This is also interesting, but it covers much of the same material as the Bouzereau pieces, with many of the same interviewees telling the same stories.
It\'s also not as smoothly edited. But unlike the Bouzereau film, it includes composer Philippe Sarde, and delves more into Polanski\'s pre- Tess life and career. It also recounts the difficulties in Tess\'s post- production, particularly concerning the running time.
Francis Coppola was brought in by producer Claude Berri to trim the film, which was deemed overlong, but Polanski hated the result, leading to a falling- out between Berri and Polanski and between Polanski and Sarde.