Review: Tess of the d’Urbervilles Part Two

“Justice” was done, and the President of the Immortals (in Aeschylean phrase) had ended his sport with Tess. And the d’Urberville knights and dames slept on in their tombs unknowing. The two speechless gazers bent themselves down to the earth, as if in prayer, and remained there a long time, absolutely motionless: the flag continued to wave silently. As soon as they had strength they arose, joined hands again, and went on.Chapter LIX, Tess of the d’Urbervilles

A shocking finale for our heroine Tess, in part two of Tess of the d’Urbervilles on Masterpiece Classic. Was justice done? Hardly!

This story is so complex that you could analyze all of the different themes for days. To catch up, you can read the plot synopsis on the Masterpiece Classic web site and discover an extensive discussion on the characters, themes, motifs and symbols that the original author Thomas Hardy used to vividly express his intention online at SparkNotes. 

Watching this film adaptation by David Nicholls, I appreciated his choice of pacing the story by evenly moving along and not dwelling on some of the more fatalistic elements from the novel. I felt the eminent demise of the heroine looming, but was still captivated to see how it would play out. I was moved by the director David Blair’s choice of symbols filmed by the series cinematographer Wojciech Szepel. Each major scene supplied something unique to capture and visualize a moment of significance for the characters or plot. Here are a few of the more memorable ones for me.

Part two opens with the wedding of Angel Clare and Tess Derbeyfield in a traditional ceremony, not performed by Angel’s father the Reverend Clare.  The only witnesses are Tess two friends Marion and Izz. The lack of Angel’s family in attendance symbolizes their disapproval of their sons marriage to a lowly dairymaid. The classic Gothic architecture and stained glass window of the church emphasize Tess and Angel’s desire to start their life together blessed by society.

As Tess and Angel arrive for their honeymoon at her ancestral home of the d’Urberville’s as paid guests, they are shown washing their hands together. Will this mutual cleansing wash away Tess’ past?

Angel’s choice of Tess’ ancestral home of the d’Urbervilles has its irony. Again we are reminded how the story began when Tess’ father is told of his illustrious ancestors prompting his desire to reconnect with them, and sending Tess to beg for work. Her association with her supposed cousin Alec will change her life forever. When Tess discovers that her husband has made arrangements to stay at the Manor house, Tess is in awe and wary. In the dinning hall she sees two portraits of past mistresses gazing down at her, and feels lowly and uncomfortable in their presence. Hardy is reminding us of the questions of class and identity that Tess faces throughout the novel and movie.

A package arrives at the Manor from Angel’s parents. It is a gift for his wife; his grandmother’s diamond necklace and other jewels held in safekeeping according to her wishes until he marries. Considering that his parent’s did not approve of the marriage or attend the wedding, they sent the jewels only to fulfill their legal obligation and not as an act of respect. The jewels are a stark contrast to Tess’ lowly background and the fact that she married into a wealthy and established family. They represent old nobility and money, something that her father craved, but Tess has never sought. 

After Tess reveals her past and Angel rejects her love, he decides that they will live apart and sends her on her way in a coach.   The departing image of Tess’ small white hand resting on the coach door is very startling. It sends the message that she is forsaken and alone.

Rejected, Tess arrives at her parent’s home unannounced revealing to her mother that she and her new husband are estranged. This image of Tess wrapped in a simple shawl and again unjustly treated by a man, is indicative of the main theme throughout the novel and movie. Once again she is wronged.

When Alec d’Urberville reappears into Tess’ life riding in on a white horse, we are given mixed messages by the director. Traditionally the good guy rides a white horse, yet throughout this production Alec the n’er do well is appropriately dressed in dark clothes like the bad guy, but rides a white horse! Interestingly, Angel rides a dark horse and has light clothing. The director is sending a mixed message here, relaying that both of the men in Tess’ life are both good and bad, but at different times. She should trust no one.

When Tess’ father dies, she, her mother and siblings are displaced from their home because of Tess’ past and hit the road, returning to their ancestral village. Penniless, they are forced to camp out at the ancestral vault in the churchyard where no d’Urberville can be turned away. There, Tess finally meets her heritage and see the heraldic crest of her family. Again, we are reminded of the reason why her troubles began when her father discovered their supposed connection to the ancient family.

Tess goes into the family vault and see the resting place of her ancestors in a beautifully carved stone tombs. The vault is protected by steel bars preventing her entrance. She can gaze at them from afar, but not be a part of them.

In spite of her hardships and poverty, Tess has carefully carried the white shoes that her husband gave her after their marriage. A symbol of their love, they are beautiful but totally impractical, destined to be stained and ruined on first wearing.

Tess and her family fall on hard times. When Alec reappears in her life, he is determined to have her again, and forces Tess to be his mistress. When Angel returns from Brazil and finds her living with him, she is devastated to see him and tells it is too late for them. Feeling betrayed and abused by Alec, she stabs him in anger and flees with Angel. They arrive at Stonehenge, the ancient Druid stones and rest there for the night.  Here, the story comes full circle as we are reminded of the opening scene of the movie when Tess danced in the May Day celebration, an ancient Pagan ritual of the beginning of Spring where she first met Angel.

  

In their last night together, Angel and Tess sleep among the stones. Like  the images of Tess’ ancient ancestors on their carved tombs, the two lovers rest together. United by tragedy, they will soon to be separated by justice.

Imprisoned, and sentenced to death for her crime, Tess remembers fonder memories of the day when she and Angel met. The last scene shows Angel and Tess’ sister Liza-Lu on a hill above the prison. A black flag is hoisted on the tower, and her life has ended.

Update: Oops! Got so wrapped up in the imagery stuff, I forgot to give my review. For someone who devotedly reads Jane Austen and has viewed all of her adaptations, I am pretty much happy with her refined style. When I jump into  a late Victorian tale such as Tess, my mind feels like a Warring blender trying to break down all the nasty bits of drama and tragedy into a refined cocktail. I don’t think I have cried so much over anything in years if that is a measure of complement. Though, I admit to feeling way too blue this week since the first episode aired last Sunday and may need a good dose of Pride and Prejudiceto get me back on track. Thomas Hardy is a great writer, but exhausting. Gemma Arterton was brilliant as Tess because she downplayed the melodrama and added class to a country lass who should have been raving mad at men and life, but was more noble than the fake nobility around her. Was Tess as enchanting as Elizabeth Bennet? Nope. But characters like Lizzy only come along once in a millennium. Kudos to Masterpiece for a great opening season.