TESSA By Ashie, Briar, Cat, Clare, Eden and Madi.

Costume Tessa wears neutral colours (black, greys and whites) when she’s in England, but bright and colourful clothes when she’s in Kenya. This reflects the idea that she becomes happier and more carefree among the native people. “…[Africa] was where she truly felt comfortable.” – Rachel Weisz. When she’s around the African people she wears Western clothing, but when she goes to the dinner party with Sir Pellegrin and other British diplomats, she wears a traditional Kenyan dress. This traditional dress shows that she has immersed herself in the Kenyan culture. Many of her outfits in Africa include warm reds, which associate with the earthy colour of the landscape, and also her kind, passionate, loving nature toward the people.

Camera Shots THROUGHOUT THE FILM: Tessa is often shown in CU and ECU shots. This is because Justin (and the audience) are trying to figure her out. After the lecture, when they go to Tessa’s house, the close up shots of both Tessa and Justin express the intimacy of the scene. IN THE LECTURE SCENE: This shot shows very clearly that she is someone who stands out from the crowd, and is willing to fight for what she believes in. She stands out more in this shot because (as well as being standing) she’s completely focussed whereas the rest of the audience is blurred.

Lighting BOARDING THE PLANE: Tessa is silhouetted against a white background. As she moves towards the plane, she gradually becomes over-exposed and fades out to white. This first scene, a memory of Justin’s, displays a subtle idea of Tessa’s fate. The gradual fade of her silhouette gives the impression that something happens to her, as the over-exposed picture is almost as though she is walking towards ‘the light’, indicating her death, and the fade of Justin’s memories. THROUGHOUT THE FILM: Full-faced lighting shows the audience that Tessa doesn’t have any ulterior motives – she is a passionate, determined woman and doesn’t let anything stand in the way of what she believes in. This style of lighting is interesting as it does not fit in to the typical conventions of a thriller. In all the memories Justin has of Tessa, she’s shown in a very bright environment, which may symbolise her death (being in ‘the light’).

Tessa’s character “The spirit of the place is somehow so much stronger than the poverty. After three days, I started to catch that and relax into it, because of my character; I think that was where Tessa truly felt comfortable.” – Rachel Weisz. Tessa’s character is believable because the viewer sees all aspects of her personality – from moments of vulnerability to moments of complete self-assurance. When Justin and Tessa first meet, Tessa is shown to be passionately idealistic, head- strong and opinionated; to such an extent that her pig-headedness leads to social embarrassment on the part of others. She does not care for social niceties when they get in the way of what she views as her moral obligation. J: “Well I can’t speak for Sir Bernard –” T: “Oh I thought that’s why you were here?” At the meeting Tessa becomes increasingly irate and even borders on abusive (“I mean diplomats have to go where they’re sent.” “So do Labradors.” “Ouch.”), and although there are calls from her colleagues in the audience to sit down, she does not (“She could be a terrier when she had a scent.”). “Why does he marry someone as opinionated and passionate as Tessa? I think they’re drawn to one another because opposites do attract.” – Ralph Fiennes.

Tessa’s character cont’ This first impression of Tessa – immovable and stubborn – is quickly juxtaposed with the remorse she shows after the room has empties following her outburst. She rapidly moves from frustrated at the lack of recognition of the value of what she is saying, to frustration at her inability to contain herself and her emotions. She apologises repeatedly to Justin afterward, saying, “I was completely rude. It was just bad behaviour...,” “I’m so embarrassed. Sorry,” and “I’m really very sorry.” This hot-and-cold nature of Tessa is part of what makes her so believable – the audience has an insight into Tessa’s struggle within herself and her constant battle to put herself completely into both her relationship with Justin and her mission to save Africa. “She needs an anchor and Justin keeps her sane; he’s so controlled and she’s so passionate.” – Fernando Meirelles, director.

Tessa vs. Justin THE LECTURE SCENE: Tessa is very personally and emotionally involved with her cause - starts arguing with Justin, showing her passionate and opinionated personality. She’s confrontational – Justin is encouraged to ‘rein her in’ – “You’ve gotta do something about Tessa…she’s embarrassing our guests…If you can’t control her, you should keep her locked up.” At the lecture Justin gives on behalf of Sir Pellegrin, “You are being paid to apologise for this pathetic country of Britain…” At the dinner party, “… So we’ve been wondering, is that a standard cock-up, Dr Ngaba, or were the pills converted into the limo that you arrived in?” Justin is quiet and diplomatic – handles Tessa very well. T: “…Thanks very much, you tried to protect me.” J: “…You’re quite scary. But I don’t blame you.” Justin is a peace keeper – doesn’t create unnecessary conflict “I see you buying the mob fish and chips while waiting for peace and order to return.” (Tessa would probably be leading the mob - “I can imagine when you were six. You leading the revolution.” ). Here we see that they’ve immediately impacted on each other. Justin comments that, “it was a very dull lecture,” and becomes more forward, “can I buy you a coffee?” Tessa also changes, becoming more apologetic, “it was a dull lecture, but even so, I shouldn’t have –”

Tessa vs. Justin cont’ She is flirtatious :) and there is a lot of suggestion that she is having affairs (though she loves Justin, “I love this man.”), whereas Justin is faithful to Tessa and loves her deeply (“I love you the way you are.” ) A: “If you were my wife I’d tie you to the bed.” T: “And then what would you do with me?” S: “…by chucking in your ridiculous sham of a marriage, as I will mine…I love you, I love you, I love you.” – (letter from Sandy) Tessa is focused on the bigger picture, while Justin is more focused on smaller details She forgoes personal comfort; risks herself and her family for an idealistic cause, “…The end that justifies my means?” – (letter to Ham) Tessa is too busy with her humanitarian causes (eg. Justin finds an Amnesty International pamphlet on her desk) to remember little things at home - “If these plants were children you’d be prosecuted!” Tessa will go to almost any lengths to uncover the truth and save the lives of innocent people, but doesn’t always want to (eg. when she makes her “vile promise” (that she has “no intention of keeping” ) to Sandy – uses his feelings to make him help her, “You can have me if you show me the letter.” ). It’s a small thing she needs to do to reach her ultimate goal – she risks her marriage and ultimately her life for the greater good. Tessa is impulsive and demanding – “You know me well enough to know that I won’t take no for an answer.” “Take me to Africa with you,” “Yes or no.” Justin jokes under pressure - suggests he wraps her up like one of her seedlings, “I could label you…You’ll be very comfortable.” He is trying to keep control of the situation – he is not taken to spontaneous decisions and a suggestion so out of the ordinary shakes him.

Tessa’s impact on Justin AFTER TESSA’S DEATH: Justin gradually becomes more and more like Tessa now that he has taken up her cause, “I have to finish what she started.” He has ‘learnt her’ – “You can learn me,” and he finally understands her and her perspective ( “I know all your secrets, Tess. I think I understand you now.” ). His dialogue becomes very similar to hers (earlier she said, “I’m fine thank you, how are you?!” to all the children, and later when Justin meets Abuk he says, “Hello, how are you? I’m fine, thank you.”). Tessa wanted to pick up Kioko and his family after she had come out of hospital, but Justin says, “We can’t interfere in their lives,” and she replies, “But these are three people we can help.” Later, when Justin wants Abuk to board the plane, he is refused, and says, “To hell with what’s allowed…this is one person we can help!” – he has developed more empathy, he’s more connected to the people. He begins to stand up to the people he once served without question (eg. Pellegrin – when he gets Ham to read the letter at his funeral). “As he finds out more about Tessa, she becomes his door into a new world, the real Africa that he had been unable or unwilling to see.” – Cesar Chalone, director of photography.