TRISHNA
Starring Freida Pinto, Riz Ahmed
Directed by Michael Winterbottom
Operating at a remarkable film-per-year clip for the past two decades, Michael Winterbottom has tried his hand at biopics, political pieces, historical dramas, documentaries, and downbeat comedies. In fact, the prolific filmmaker has really only repeated himself on two fronts: collaborating with comedian Steve Coogan and turning to novelist Thomas Hardy for inspiration.
Adapting Hardy for the third time, Winterbottom relocates Tess of the DUrbervilles from 19th Century England to contemporary India. Shot with the directors usual sense of urgency, Trishna spares us the fawning, fetishistic view of the country thats become customary. Instead, Winterbottom instills the proceedings with a sense of peril that soon comes to head with an auto wreck. In turn, this accident puts our key players on a collision course.
Suddenly forced to provide for her poor family, Trishna (Freida Pinto) discovers a benefactor in Jay (Riz Ahmed), the son of a wealthy British hotelier. However, it quickly becomes apparent that her guardian angel has some less-than-saintly intentions. And while the two become lovers, their class differences keep them from operating as equals.
Unfortunately, the limitations of the two lead performers leave the grisly climax feeling melodramatic and unconvincing rather than the logical conclusion to their festering relationship. Particularly problematic is Pinto, who simply isnt capable of playing a character this passive. As she drifts wherever the fates often in the form of a persuasive man might lead, you look to her eyes for some evidence of an internal conflict thats raging within her.
Time and again, you come away with nothing. Consequently, Trishna is deprived the soulfulness it so desperately requires.
Curtis Woloschuk
