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However, in the meantime Jude (Christopher Eccleston) has become a man and Arabella (Rachel Griffiths), the feisty daughter of a pig farmer, has taken note. Distracted and attracted by her, Jude embarks on a passionate relationship with Arabella. Physical consummation takes place in an animal shed, with marriage following on when Arabella thinks that she's pregnant. Despite the dire warnings of his aunt Drusilla (June Whitfield), that their family aren't cut out for betrothal, Jude throws away his dreams by getting hitched. Fortunately, because they are totally incompatible, Arabella isn't with child. Eventually, Arabella just leaves (for Australia), freeing Jude to pick up the threads of his ambition, by leaving for Christminster.
Labouring as a stone-mason, while studying for the entrance exam at night, Jude is focused on forcing his way into college. However, a woman once again enters his life and disrupts everything; this time it's his beautiful cousin Sue Bridehead (Kate Winslet). Strong minded, forthright and intelligent, Sue captivates and entrances Jude. When she loses her job Jude is desperate to keep her around, so he takes her to see his former tutor Phillotson. Somewhat disillusioned, Phillotson runs a school and agrees to take Sue on for a small wage, since she has no experience. Jude is weighed down by his desire for Sue (despite his marital status), a burden increased by rejection from the university and the fact that Sue and Phillotson have begun a relationship. It all disheartens Jude so much that he returns home, to his aunt. However, Jude's obsession dooms him to forever seek Sue's affection, leading them into turbulent waters.
The tone of Thomas Hardy's novel is relentlessly depressing, an aura accurately recreated in Jude. Even when brief flashes of happiness occur, the knowledge of impending disaster overshadows them; there is no escape and death is the only way to end the pain. The force behind this degradation is society, in all its rigid and unyielding majesty. The love that Jude and Sue share is simply forbidden, while the birth of a few children (rather graphically) adds insult to injury. Coupled with the added drawback of class, Jude and Sue are destined to be crushed under the heel of the moral majority for their impudence. They don't exactly help matters though by taking an unbending stance, refusing to provide a simple lie when that is all anyone else requires.
Filling out the central characters, Eccleston and Winslet do an excellent job of deepening their roles. Jude is wilfully stubborn, determined to win both a university place and the love of Sue (failing on both counts). The troubles gradually draw the colour and strength from his body, yet he never stops believing that you should always do what's right for yourself. Sue follows a similar trajectory, although she is altogether more flighty, impetuous and tragic. The contrast between the glowing butterfly of her youth and the living death which eventually takes her is horrific. Annoyingly, none of the remaining characters are firmly developed, leaving the root of their desires and motivations unclear. This, unfortunately, weakens Jude and Sue because they have less to play against.
This lack is fundamental weakness for Jude, a movie which manages to cover both too much and too little. In its eagerness to cram in as much source material as possible, the film stumbles by skipping over many scenes too quickly (despite this the beginning is ponderous) and skimping on the creation of real depth to the tale. Thus the heart of Jude is missing - there's plenty of emotion on display but it isn't quite connected to anything. On a positive note, the oppressive nature of the screenplay is well matched by the excellent cinematography. There are many beautifully shot moments which have an impact above and beyond the action occurring on the screen - the visuals are that striking. Hence, Jude is a fine adaptation which embraces the misery of the story and almost becomes a masterpiece. It's a shame that it falls short, interminable in its mixing of grim reality with incongruous light-hearted costume drama (such as the sea-shore frolicking).
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