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Trishna2011 | 108 min | R | 2.39:1
If there’s anything to absorb from director Michael Winterbottom’s filmography, it’s that the man loves to adapt the work of writer Thomas Hardy for the screen. After 1996’s “Jude” and 2000’s “The Claim,” now there’s “Trishna,” based on the Hardy story “Tess of the d’Urbervilles,” originally published in 1891. A tragedy, “Trishna” is heavy stuff, provided a distracting cultural approach by Winterbottom, who moves the saga from England to India, using a chaotic atmosphere to his advantage as he constructs a devastating arc for his lead character, taking viewers on a sensorial odyssey through despair, arranging more than a few wonderfully charged moments while touring this map of misery. 
Trishna (Frieda Pinto) is a simple Indian girl from a large family, hoping to maintain employment without the promise of an education in her future. When her father crashes his jeep and is unable to provide for the family, Trishna accepts an offer from admirer Jay (Riz Ahmed) to work at his family’s ritzy hotel, whisking the impressionable girl away from the comfort of home, showering her with flirtations and attention. Charmed but shy, Trishna finally gives in to Jay’s interests, resulting in an unplanned pregnancy. Frightened, Trishna returns home, only to shuffle back into Jay’s arms once again when the privileged young man shows his love the glamorous highlights of Bollywood, testing the waters as a film producer. When their tenuous bond is tested by a simple act of confession, Trishna and Jay once again separate, only to reunite under darker circumstances, leaving the rural woman vulnerable to her lover’s propensity for cruelty. As with any Winterbottom feature, the drama is almost secondary to the atmospherics, with “Trishna” bathing in the sights and sounds of India, using the disorder of traffic and the overwhelming movement of people to emphasize the whirlwind nature of the lead character’s journey. It’s a gorgeous picture (shot by cinematographer Marcel Zyskind) in the way it suffocates and meditates in equal measure, providing observers with a satisfying understanding of Trishna’s home life and time spent in major cities, with the contrasts accentuated by Winterbottom’s vision for the deceptive tranquility of luxurious hotels and remote homesteads. While the story doesn’t inspire much in the way of joy, the visuals are communicative, also illuminating Pinto’s natural beauty to reinforce the character’s allure, though it’s an attractiveness that Trishna doesn’t quite understand, thrown into situations where men simply want to possess her. 
Trishna’s naiveté is the most captivating element of the screenplay, watching the childlike girl develop into a hardened woman, suffering a string of disappointments and tragedy that alter her temperament and capacity for hope in subtle ways. It’s a substantial performance from Pinto, who internalizes much of the character’s violations, gradually building to a climatic eruption of emotion. It’s a juicy role, with Trishna accepting radical highs and lows in her life, growing from a server to an educated woman, soon tempted by the bright lights of moviemaking and a promise of screen dancing after years of emulating her favorite stars on television. Jay’s presence is equally intoxicating, with the prospect of love warping Trishna’s instincts, finding her innocence corrupted with each act of abandonment and shame the relationship invites. While reduced to a villain, Jay’s arc is equally intricate, as the smitten young man looks to acquire this beauty, perverting his childlike romantic interest into hateful domination as the film evolves. 
“Trishna” grows increasingly raw as the third act arrives, leading to scenes of sexual slavery with Trishna as her devotion to Jay is reduced to employment status, returning to the position of service where she began. While the climax turns to several acts of violence to make its final points, the melodramatics are effectively navigated by Winterbottom, who labors to preserve a gut-punch ending that’s genuinely surprising. “Trishna” is filled with special moments like it, emerging out of the haze to stun with their emotional complexity and sting of betrayal. It certainly isn’t an uplifting story, yet “Trishna” rewards with its observational qualities, while promoting Pinto as an actress worth paying attention to. Starring: Freida Pinto Director: Michael Winterbottom » See full cast & crew |
 
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