Roman a woodland daydream. Totake control of her

Roman Polanski’s Tess, adaptation of Thomas Hardy’s turn of the century magnum opus Tess of the D’Urbervilles, delves into the ruthlessness of fate and the inevitable grapple with suffering thrust upon the central character’s meekness. Tess Durbeyfield’shumble existence is ruled by the cruelness of destiny and its misaligned outcomes; guided by the fickle pride of the men (patriarchal society) in her life. The particularities of Tess’s quiet despair are precipitated by a chance encounter shared between a vicar, Parson Tringham, and Tess’s peasant father, John Durveyfield. A chance encounter that reveals the noble lineage of the Durbeyfield clan; descendants of the extinct noble house of D’Urberville. Obsessed with the prospect of redeeming his noble origins, John Durveyfield appeals to a nearby manor with the assumed title of D’Urberville, and commands his daughter Tess to seek employment at the estate, despite her reservations. In service of her father’s ego and appetite for a charmed life of leisure, Tess begins her descent into the preordained destiny laid out before her in a patriarchal society. Alec d’Urberville, heir to the manor and Tess’s presumed cousin, fancies Tess’s naivety and nubile beauty; a slight fancy that evolves into an unquenchable lust. Intent on seducing Tess, Alec seizes the opportunity to isolate and beguile her. In one instance, Alec dangles a freshly picked ruby red strawberry in front of her lips, sleazily remarking “Don’t be so coy, my pretty cousin”. Tess tentatively gives in to the seduction of high society, represented by the usage of the color red. In due time, the seduction dovetails into coercion. Atop the almost mystical flora of the natural world, Tess is defiled by Alec in a rape sequence meant to clash with the mise en scène of a woodland daydream. Totake control of her destiny, Tess absconds to her childhood home, and soon after, bears the child of her assailant. Not long after, the bastard infant succumbs to disease; constituting the continuation of Tess’s inevitable suffering.   Eventually, a stroke of good fortune befalls upon Tess after falling for a pious, good-natured farmer named Angel Clare. Up until her wedding night, Tess fails to disclose her previous association with Alec out of fear that Angel might question her innocence and reject her love. Once she confesses, Angel, in respect to his conservative values, shames Tess and holds her accountable for the sins of Alec. Angel’s rejection of Tess is a telltale demonstration of the phrase “fate is a cruel mistress”, and the thankless conceit of female integrity in a male-dominated society.    Facing starvation and demoralizing working conditions to keep her family afloat after her father’s untimely demise, Tess agrees to become Alec d’Urberville’s courtesan to ensure the comfort of her mother and younger siblings. Following a life-threatening missionary trip to Brazil, Angel realizes the error of his ways, and seeks to reconcile with Tess. Angel’s new lease on life compels him to uncover Tess’s whereabouts, only to find that Alec has laid claim to her decency. Once again, Tess attempts to take control of her destiny, and murders Alec in hopeof reuniting with her one true love Angel. Alec’s death is elicited by the scarlet red saturation of his blood on the first-floor ceiling of his costal home; a visual cue to Tess’s subversion and proactive emancipation from the stifling sociological circumstances of her young life. A woman wanted by the law, Tess experiences momentary bliss with Angel until she is