"“I admire Winterbottom for his approach, attempting to both modernise and re-set a classic tale of love and tragedy…”"

In what is director Michael Winterbottom’s third adaptation of a Thomas Hardy novel, Trisha tells the tale of a young couple in love, where traditionalism and the incompatible demands of society prove to be too much for the supposedly infatuated couple.

Winterbottom, who has also brought both Jude and The Claim to the big-screen, has adapted his third Hardy novel, this time basing his story on that of Tess of the d’Urbervilles, in what is an adventurous and imaginative take on the classic tale.

Set in present-day India, Freida Pinto plays Trishna, the daughter of an indigent auto rickshaw driver. However, she is offered a way out when she catches the eye of Jay (Riz Ahmed), a Brit who is in India looking after property that his wealthy father owns. As Trishna’s father crashes his jeep and must pay for a new one, Trishna agrees to go and work with Jay as a hotel maid to make some more money.

However, the pair soon develop stronger feelings for one another, and as they get together and move to the city of Mumbai, it is there that Trishna learns of the opportunities open to young, intelligent people such as herself, and whilst her ambitions grown, her relationship with Jay soon declines.

Despite being based on a timeless tale of the difficulties of two young lovers unable to compromise, I felt that on the big-screen it felt almost too one-dimensional and was therefore quite fruitless as a result. It just seems like too much of a conventional romantic drama with not enough separating it from anything we have really seen before, regardless of its exotic setting.

In a film that certainly started better than it ended, with a more enjoyable opening half – it proves to be a great combination of both British and Indian cinema. With Winterbottom directing and the character Jay coming from the United Kingdom, it certainly had an element of British wit to it, most apparent when Jay is with his friends early on, when the dialogue is very informal, and full of banter.

However, the film bears an alluring Asian soundtrack, and various scenes portraying Indian culture, sometimes simply though what it is on the television, or the impressive dancing scenes by Pinto.

As well as showing off her dancing skills, Pinto is fantastic as the leading role, perfecting the ability to seem quite introvert and self-conscious, particularly around Jay where she must speak English, her second language. She also doesn’t allow for her beauty to influence the part in any way, as despite looking so glamorous – she manages to remain quite diffident and timid as the underprivileged country girl, playing down on her natural looks.

Showing at the BFI London Film Festival, Trishna is an interesting adaptation and I admire Winterbottom for his approach, attempting to both modernise and re-set a classic tale of love and tragedy. Thanks to the talent of the director, and the two very strong lead performers, it’s pulled off, but with a somewhat inclusive storyline, it ultimately makes for a quite unmemorable production.