Reptileenbu Did you people see the same film I saw?

Cleveronix A different way of telling a story

FuzzyTagz If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

SnoopyStyle Jay Singh (Riz Ahmed) is a westernized Indian. He and his friends travel out into rural Rajasthan and stays at a local hotel. He is taken with villager Trishna (Freida Pinto) performing at the hotel. She and her father are injured in a car accident. Her father can't work and they struggle with the debt. Jay offers her a job at his family's hotel outside of Jaipur. Jay falls deeper in love and one night, he does something which changes everything.Director Michael Winterbottom brings out a beauty from the setting and Freida Pinto is a large part of that. The story lacks a focus that would raise its inherit social commentary and tension. First I would make Jay's hotel much more modern. It needs to differentiate from Trishna's home town. Then there is that night. It's filmed with so much ambiguity that it doesn't really make the point hard enough. This is an adaptation of the classic Tess of the D'Urbervilles, and there is a good parallel between the two social worlds. This movie should work a lot better than this.

gradyharp To claim that TRISHNA is an adaptation of Thomas Hardy's 'Tess of the D'Urbervilles' is really stretching the imagination. This is an engrossing film about caste differences in India: the screenwriters are not mentioned - only the fact that director Michael Winterbottom based his story on Hardy's famous novel seems to be more of a PR draw than reality. But the film is well acted and the aromas and atmospheres of India are well captured.TRISHNA reveals the life of one woman whose life is destroyed by a combination of love and circumstances. Set in contemporary Rajasthan, Trishna (Freida Pinto, beautiful and sensitive) meets a wealthy young British businessman Jay Singh (Riz Ahmed, inordinately handsome and polished) who has come to India to work in his father's hotel business. After an accident destroys her father's Jeep, Trishna goes to work for Jay, and they fall in love. But despite their feelings for each other, they cannot escape the conflicting pressures of a rural society which is changing rapidly through industrialization, urbanization and, above all, education. Trishna's tragedy is that she is torn between the traditions of her family life and the dreams and ambitions that her education has given her: the sexual double standard to which Tess falls victim despite being a truly good woman makes her despised by society after losing her virginity before marriage. Trishna has choices after she receives an education, but she instead chooses to follow her passion for Jay. Jay truly loves Trishna but his social class demands that he keep Trishna as an employee, making his physical love affair with her a private matter due to the rules of the caste system. Jay does not seem to be a villain here and Trishna is not a victim: these two facts make the ending a bit over the top and unnecessary. A more intelligent script could have made this a first class film.Freida Pinto and Riz Ahmed are fascinating to observe as they work through the confines of love in a world that does not condone their union. The other characters in the cast are excellent - especially Roshan Seth as Jay's father. In setting the story in contemporary India the director seems to have decided it was important to include cellphones and Bollywood dancing rehearsals and filmmaking to provide spice. But in the end it is the fine acting by Pinto and Ahmed that make this film work. Grady Harp

Spiked! spike-online.com Filmmakers never have been able to resist indulging their love for the good ol' English canon by churning out their own rendering of classic novels. Last year was no exception, with the likes of Cary Fukunaga's Jane Eyre and Andrea Arnold's Wuthering Heights hitting our screens. But while these were both pretty decent efforts, overall they provided little more than an opportunity for the well-versed viewer to compare them to previous outings and mull over their treatment of the source material.As such, the classic novel adaptation has become little more than a type of genre flick, in which we are invited to watch a director wrestle with a well-worn story. Transposing Thomas Hardy's tragic novel Tess of the d'Urbervilles from Victorian Wessex to modern day India, as Michael Winterbottom has done with Trishna, appears on the surface to be little more than another gimmicky relocation of a classic tale. This film, however, manages to do justice to Hardy's themes whilst carving out a discernibly different kind of work that can be watched and enjoyed with fresh eyes.Hardy was writing in a period of dramatic ideological and economic transition. Victorian censoriousness was still grappling with post-Reformation libertinism while the Industrial Revolution was encroaching upon and modernising the rural world. Tess is a heroine caught in the crossfire of warring moralities. Winterbottom deftly reinterprets the character as Trishna (Freda Pinto), a teenager from a poor family, who is torn between the traditional values of her homeland in rural Rajasthan and the social and sexual liberation she later finds in Mumbai.Winterbottom has stated that he chose India because it currently bears similar ideological divides to those of nineteenth century Britain, but he in fact paints a more complex and modern picture. Far from being the 'pure woman' of Hardy's novel, whose downfall took place in spite of her moral rectitude, Trishna is a conflicted character who is grounded in the old world but drawn to the bright lights of the new.In place of the pious Angel Clare, who Tess falls in love with, and the rakish Alec d'Urberville, who robs her of her virtue, we are given Jay Singh (Riz Ahmed), a conflation of both characters. A British-born rich kid, he comes to Rajasthan to work for his father's chain of hotels and takes a shine to Trishna. The two begin to fall in love, but he unwittingly leads her to disgrace herself by succumbing to his advances. Growing tired of hiding their relationship, he suggests they leave for Mumbai, where they can live together, free from scorn.Although perhaps a little insensitive, Jay is every bit the honest and loving Angel Clare of the narrative, until a return to Rajasthan leads his darker, d'Urbevillian side to show itself. Managing one of his father's hotels, a former harem, he revels in subordinating Trishna to his depraved appetites, until she is forced to take revenge.Unlike Hardy's novel of black-and-white morality embodied by wholesome heroines and seedy villains, these modernised characters have internalised these conflicts. Winterbottom's adaptation insists upon its modern setting, and refuses to impose Hardy's hundred-year-old dynamic onto it. Trishna's downfall isn't a journey from honour to disgrace, but a process by which she is isolated between two different notions of piety, and taken advantage of by her malevolent lover. Not only does this prevent Winterbottom from casting aspersions on traditional or indeed modern values, it also makes for a far more convincing appropriation of the novel.Although Winterbottom is given a writing credit, the script was apparently little more than a set of vague outlines from which the actors were expected to improvise the dialogue. Luckily, the leads are more than up to the task, and their off-the-cuff performances lend well to portraying a tentative courtship between two different cultures. The early scenes in which Jay has to overcome the language barrier to get Trishna's attention are a naturalistic joy, yet even as things take a more dramatic turn, Pinto and particularly Ahmed remain startlingly believable.Their improvised riffs help to cast the characters into entirely different moulds, while the embrace of the Indian aesthetic allows the setting to stake new ground within the story as well. Whether Winterbottom is diving head first into the throng of the city or nestling the camera in the rugged hills of the countryside, his loose and intuitive style takes each locale as it is, capturing it with intelligence and warmth. The soundtrack, featuring a selection of original Bollywood numbers, bounces off the visuals wonderfully, whilst the incorporation of an on-screen translation of the Hindi lyrics proves a novel and expressive addition. Rather than treating India as a mere stand-in for old-world England, Winterbottom attends to it dutifully, helping to create the film's distinctive flavour.Whether you've read Tess or not, love a good adaptation or usually find them cosy, generic tripe, there's plenty to enjoy with Trishna. Instead of just guising an old story in contemporary garb, Winterbottom truly reinterprets it and in doing so finds resonance with a modern audience. Most impressively, it is an adaptation that stands firmly on its own two feet, and graces us with some inimitable and elegant performances.

miss_lady_ice-853-608700 Tess of The D'Urbervilles is a brilliant novel, with a wealth of material for any director to get their teeth into. Setting the story in modern-day India was a really good idea- when Michael Winterbottom put his twist on scenes from the novel, they worked well and gave an insight into what the film could have been.The confusing and frustrating element of this film for anybody who's read the novel is that at the heart of the book is a brilliant love triangle. Tess is caught in the clutches of callous playboy Alec D'Urberville but hopes to find salvation in her new lover, the godlike Angel Clare- however, both men fail her. For some inexplicable reason, Winterbottom chooses to merge Angel and Alec together, into the character of Jay, a British-Indian, so we have a good guy who inexplicably turns bad. Even a good actor would struggle to pull this off but Riz Ahmed, who has to be one of the worst actors I've ever seen, fails completely. Winterbottom seems to have asked him to improvise parts in order to create a naturalistic feel. Yes, they tried to do Tess Of The D'Urbervilles, a tragedy in the Greek style or at the very least a nineteenth century melodrama, in a realistic style. What are we going to have next, naturalistic Hamlet? "Yeah, Hamlet, I'm sorry about murdering your father but I really fancied your mother. You know how it is." I'm not familiar with Winterbottom's work but I vaguely recalled that it was a bit pornographic. An hour or so into the film, I was wondering when the smut would come. And then I saw Jay flicking through a copy of-you guessed it, the Karma Sutra. At this point, a couple actually walked out of the cinema, and the remaining audience were either shocked, amused, horrified or a mixture of all three. Trishna's descent into sex object is upsetting but it is so predictably done that the tragedy is lost.As for the leading lady, Frieda Pinto is very good as the passive heroine. As Roman Polanski did in the 1978 adaptation of the novel, Winterbottom lingers on Pinto's beauty, and the beauty and vibrancy of India. There is perhaps a little too much lingering- there is not much dialogue, and when there is dialogue, it is banal.It's interesting to see what they did with the story and Pinto is very watchable but this is very much a wasted opportunity. It is pretty hard to make Tess lacklustre, but Winterbottom has managed it. The fact that he's done two other films based on Thomas Hardy novels is worrying.