AVALIAÇÃO DA IMDb
7,3/10
19 mil
SUA AVALIAÇÃO
Uma jovem camponesa com um caráter forte atrai o afeto de dois homens.Uma jovem camponesa com um caráter forte atrai o afeto de dois homens.Uma jovem camponesa com um caráter forte atrai o afeto de dois homens.
- Direção
- Roteiristas
- Artistas
- Ganhou 3 Oscars
- 16 vitórias e 17 indicações no total
Nastassja Kinski
- Tess
- (as Nastassia Kinski)
Avaliações em destaque
This film was an almost exact replication of Thomas Hardy's novel "Tess of the d'Urbervilles". It's so rare to watch a film after reading the novel and not be disappointed by it, but this film didn't disappoint in any way.
Details, such as the whiteness of the maids' dresses, the sound of milk squirting into a bucket, the sloshing mud of a wet English turnip field, and the glint of adoration in the eyes of the young lovers -- all came gloriously to life as if fresh off the pages of the book.
I highly recommend this film for anyone who enjoys a good old fashioned Victorian love story.
Details, such as the whiteness of the maids' dresses, the sound of milk squirting into a bucket, the sloshing mud of a wet English turnip field, and the glint of adoration in the eyes of the young lovers -- all came gloriously to life as if fresh off the pages of the book.
I highly recommend this film for anyone who enjoys a good old fashioned Victorian love story.
In this adaptation of the Hardy novel, a peasant girl who may be descended from a noble family encounters romance and tragedy in 19th century England. Meticulously directed by Polanski, this epic drama unfolds quite leisurely but does not drag. The English countryside is beautifully captured, with the cinematography adding a haunting quality to the barren landscape, an effect further enhanced by the evocative score. Perhaps she does not faithfully embody the strong-willed heroine of the novel, but Kinski (resembling a young Ingrid Bergman) looks exquisite and effectively conveys a sense of melancholy in a star-making performance.
SYNOPSIS A poor girl in late 1800s England is used and abused in her search for love, affection and devotion.
CONCEPT IN RELATION TO THE VIEWER True love is an allusive thing and the rules and morals of an upper class society makes some men into real jerks. Sometimes following your heart can be a difficult road with a lot of dead ends and pitfalls.
PROS AND CONS I watched this film back in college when it first came out. I was a fan of Roman Polanski's work and this was his first film after 'Chinatown', which is one of my all time favorites. I recall that this was a long (almost 3 hours) film that was very slow and beautifully shot. Since I was more interested in car chases and explosion in my youth, I didn't recall this as being a very good film.
Since age tempers a lot of our youthful interests, the second viewing of this film was a much different experience. This is a slow film but it has to be. Life was much methodical and personal in the rural countryside of Victorian England. The script and acting are very intimate and you really get to know the characters as the story unfolds on the screen. The subtle tone of this film is amazing and the level of detail actually makes you believe you are in 1890s England.
The two lead characters played by Nastassja Kinski (Tess) and Peter Firth (Angel) do an exceptional job. Kinski's character is extremely shy and withdrawn. Firth is also engaging in his subtle portrayal of a preachers son trying to find the meaning of life. It is obvious from watching the film that Polanski was infatuated with Nastassja Kinski. He lingers on her in many shots and for good reason. She portrays the perfect heroine, virginal, pure and very beautiful.
The cinematography in this film is even more beautiful the second time around. The surreal scene of a fox hunt emerging from the mist in front of Tess as she walks down a deserted country road is mesmerizing on several levels. The end scene at Stonehenge with the rising sun casting long shadows as the final credits roll is truly breathtaking. There are countless other scenes like this that give the film and almost dreamlike quality.
In the end the viewer feel sorry for Tess as she is led away. She is more a victim of circumstance and the callousness of others than of her own doing. But the world of rural Victorian England was not a nice place, especially if you were poor, naive and very beautiful.
CONCEPT IN RELATION TO THE VIEWER True love is an allusive thing and the rules and morals of an upper class society makes some men into real jerks. Sometimes following your heart can be a difficult road with a lot of dead ends and pitfalls.
PROS AND CONS I watched this film back in college when it first came out. I was a fan of Roman Polanski's work and this was his first film after 'Chinatown', which is one of my all time favorites. I recall that this was a long (almost 3 hours) film that was very slow and beautifully shot. Since I was more interested in car chases and explosion in my youth, I didn't recall this as being a very good film.
Since age tempers a lot of our youthful interests, the second viewing of this film was a much different experience. This is a slow film but it has to be. Life was much methodical and personal in the rural countryside of Victorian England. The script and acting are very intimate and you really get to know the characters as the story unfolds on the screen. The subtle tone of this film is amazing and the level of detail actually makes you believe you are in 1890s England.
The two lead characters played by Nastassja Kinski (Tess) and Peter Firth (Angel) do an exceptional job. Kinski's character is extremely shy and withdrawn. Firth is also engaging in his subtle portrayal of a preachers son trying to find the meaning of life. It is obvious from watching the film that Polanski was infatuated with Nastassja Kinski. He lingers on her in many shots and for good reason. She portrays the perfect heroine, virginal, pure and very beautiful.
The cinematography in this film is even more beautiful the second time around. The surreal scene of a fox hunt emerging from the mist in front of Tess as she walks down a deserted country road is mesmerizing on several levels. The end scene at Stonehenge with the rising sun casting long shadows as the final credits roll is truly breathtaking. There are countless other scenes like this that give the film and almost dreamlike quality.
In the end the viewer feel sorry for Tess as she is led away. She is more a victim of circumstance and the callousness of others than of her own doing. But the world of rural Victorian England was not a nice place, especially if you were poor, naive and very beautiful.
Beautiful to look at, not just the scenery but the art direction as well but overlong and somewhat ponderous. Nastassja Kinski handles the complex lead role with surety and exudes a great deal of charisma and star quality, it's surprising that her career fizzled out so completely but as she matured those qualities in evidence here diminished. Director Polanski's silent tribute to his late wife Sharon Tate at the end of the opening credits with a simple "To Sharon" after his credit is quite moving. She had left the Hardy novel with a note that she thought he would make a fine film of it when she headed back to the states just before her death.
Considering that the cultures of nineteenth century Europe were supposedly so rigidly moralist, it is perhaps surprising that many of the great novels from that era are themselves attacks upon the rigidity. Or perhaps that is only the ones we remember, the ones that have survived as classics. After all, it is easier for a contemporary reader to imagine being stifled by or fighting against such strict order than to be comfortable and complicit in it. And these are the novels that have made the most powerful and enduring adaptations to our contemporary medium of cinema.
Surely the most outstanding thing about this adaptation of Thomas Hardy's Tess of the d'Urbervilles is its magnificent appearance. The cinematography or Geoffrey Unsworth and Ghislain Cloquet is breathtakingly beautiful, at times referencing various paintings of rural England, with some incredibly natural looking twilight scenes. The art direction and costume design is fabulous too, echoing the tones and textures of the countryside. The design follows such a tight colour scheme, beginning with a motley of off-whites, giving way to greys and browns in the latter half of the picture, and finally a deep crimson. And yet it all looks so natural and unforced.
Director Roman Polanski makes this a rich canvas for his camera. As usual his emphasis is upon confinement, often framing people so the tops of heads are cut off, making the image look short rather than wide. And yet this is a picture very much of the outdoors. Polanski shoots the interiors with briefer shots, more frequent camera moves and many close-ups, and as such the indoor spaces seem the most transient and indistinct, which really helps us get a sense of Tess's feeling of not belonging. Throughout the picture the director encourages slowness, stillness and long takes for key scenes, which brings out the best in the acting performances.
German-born Nastassja Kinski at first seems like an odd choice to play the titular Dorset lass. Her attempt at the accent is a bit wobbly at best (although still impressive considering she is not even English), but really her performance is about more than that. She has that peculiar quiet delicacy that the character requires, and just below the surface of her performance lurk all those suppressed emotions, just visible enough that we believe her final actions. The only other standout is Peter Firth. It works very well the way he appears so mature and manly in his earliest appearances, and then when his feelings towards Tess change, he becomes like a spoiled child. Above all, both performances are calm and subdued.
And subdued calmness is what really marks this movie. Voices are barely distinct. The Philip Sarde music score, containing just a hint of Elgar and Vaughn Williams, is as rich and beautiful as the imagery. It is this non-verbal eloquence that prevents Tess from becoming dull or stilted. The adaptation barely communicates directly with its audience, with no explanatory narration and overt exposition. We are left to infer much, such as the baby which suddenly appears without us even having been aware of the pregnancy. The picture has all the subtlety of a good silent movie, giving us its thoughts and feelings through the purity of its images, and as such very much removed from the word-based format of a novel. And yet Tess retains all the power and meaning as a piece of storytelling.
Surely the most outstanding thing about this adaptation of Thomas Hardy's Tess of the d'Urbervilles is its magnificent appearance. The cinematography or Geoffrey Unsworth and Ghislain Cloquet is breathtakingly beautiful, at times referencing various paintings of rural England, with some incredibly natural looking twilight scenes. The art direction and costume design is fabulous too, echoing the tones and textures of the countryside. The design follows such a tight colour scheme, beginning with a motley of off-whites, giving way to greys and browns in the latter half of the picture, and finally a deep crimson. And yet it all looks so natural and unforced.
Director Roman Polanski makes this a rich canvas for his camera. As usual his emphasis is upon confinement, often framing people so the tops of heads are cut off, making the image look short rather than wide. And yet this is a picture very much of the outdoors. Polanski shoots the interiors with briefer shots, more frequent camera moves and many close-ups, and as such the indoor spaces seem the most transient and indistinct, which really helps us get a sense of Tess's feeling of not belonging. Throughout the picture the director encourages slowness, stillness and long takes for key scenes, which brings out the best in the acting performances.
German-born Nastassja Kinski at first seems like an odd choice to play the titular Dorset lass. Her attempt at the accent is a bit wobbly at best (although still impressive considering she is not even English), but really her performance is about more than that. She has that peculiar quiet delicacy that the character requires, and just below the surface of her performance lurk all those suppressed emotions, just visible enough that we believe her final actions. The only other standout is Peter Firth. It works very well the way he appears so mature and manly in his earliest appearances, and then when his feelings towards Tess change, he becomes like a spoiled child. Above all, both performances are calm and subdued.
And subdued calmness is what really marks this movie. Voices are barely distinct. The Philip Sarde music score, containing just a hint of Elgar and Vaughn Williams, is as rich and beautiful as the imagery. It is this non-verbal eloquence that prevents Tess from becoming dull or stilted. The adaptation barely communicates directly with its audience, with no explanatory narration and overt exposition. We are left to infer much, such as the baby which suddenly appears without us even having been aware of the pregnancy. The picture has all the subtlety of a good silent movie, giving us its thoughts and feelings through the purity of its images, and as such very much removed from the word-based format of a novel. And yet Tess retains all the power and meaning as a piece of storytelling.
Você sabia?
- CuriosidadesThe film's opening dedication at the start of the film states: "For Sharon". Roman Polanski dedicated this movie to his late wife, Sharon Tate, who was killed in 1969 by the Manson Clan. Before Tate's death, she had read the film's source novel by Thomas Hardy and was convinced that her husband would one day make a great film based on the novel, with the hope that she would star in it. Movie was released to the theaters exactly 10 years after her untimely death.
- Erros de gravaçãoAt the beginning of the final sequence, set at Stonehenge, someone's head can be seen at bottom-left.
- Versões alternativasThe film was first released to German cinemas uncut with a running time of 184 minutes. As the audience reaction was far from overwhelming the distributor decided to re-cut and re-release the film in a more "accessible" 134 minutes version. But at least one of the original prints had survived and was shown here at the local art house years later.
- ConexõesFeatured in The 38th Annual Golden Globe Awards (1981)
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- How long is Tess?Fornecido pela Alexa
Detalhes
Bilheteria
- Orçamento
- US$ 12.000.000 (estimativa)
- Faturamento bruto nos EUA e Canadá
- US$ 20.093.330
- Faturamento bruto mundial
- US$ 20.101.247
- Tempo de duração
- 3 h 6 min(186 min)
- Cor
- Proporção
- 2.35 : 1
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