There are three common errors made by directors of historical films that Michael Winterbottom neatly avoids in 'Jude', his adaptation of Thomas Hardy's novel. Firstly, he creates a picture of a livable past, not some shallow collage of country houses and Dickensian squalor but a world in which a normality, of sorts, might reign. Secondly, he sets out to explore that normality, instead of simply judging the past by present values. Finally, he is working with a script that is neither archaic and stiff nor laced with modern anachronisms. Add to this strong direction and casting (Christopher Ecclestone is excellent in the title role, and a young Kate Winslett fetchingly appealing as Sue), and the result is a good film; but it lacks something of a dramatic punch.
I haven't read the book, but one senses from the film that it may represent a fierce attack on then-contemporary values, particularly those involving marriage, values which drive the characters to their ultimate misfortune. One senses this, but in the movie this theme is played down, so the story seems merely to tell of the ups and downs of Jude's life, presented as fairly accidental happenings. A terrible tragedy eventually occurs; and, because of what has happened in the past, a second, avoidable, tragedy then follows. The problem, dramatically speaking, is that the second tragedy appears smaller than the first, thus the end of the film serves as an anti-climax. Without a unifying sense of accusation, we, instead of a powerful polemic, are left with only the tale of an unfortunate.
'Jude' is one of the better, and the least sentimental, of historical films. But something of the point has been lost in translation.
I haven't read the book, but one senses from the film that it may represent a fierce attack on then-contemporary values, particularly those involving marriage, values which drive the characters to their ultimate misfortune. One senses this, but in the movie this theme is played down, so the story seems merely to tell of the ups and downs of Jude's life, presented as fairly accidental happenings. A terrible tragedy eventually occurs; and, because of what has happened in the past, a second, avoidable, tragedy then follows. The problem, dramatically speaking, is that the second tragedy appears smaller than the first, thus the end of the film serves as an anti-climax. Without a unifying sense of accusation, we, instead of a powerful polemic, are left with only the tale of an unfortunate.
'Jude' is one of the better, and the least sentimental, of historical films. But something of the point has been lost in translation.