Far from the Madding Crowd (2015) Reviews

• X-rated for sheep

  bob-the-movie-man2015-05-07

  Based on Thomas Hardy's classic novel (which I much shamefully admit I have never read), Far From the Madding Crowd tells the tale of Bathsheba Everdene's rags-to-riches rise to become a farm-owner in rural Dorset in the 1870's, the title coming from the fact that Dorset is a long way from the hustle and bustle of London "200 miles away" as the opening title incorrectly declares - the longest direct driving route I could find was 155 miles! Bathsheba is a magnet to men with her feisty and independent behaviour, and the film documents the "love square" between her and three men in her life: Gabriel Oak (Matthias Schoenaerts), the hunk of a farm manager; William Boldwood (Michael Sheen), the wealthy neighbouring landowner; and Sergeant Troy (Tom Sturridge), a dashing Han-Solo style rogue, flash-as-you-like in his scarlet army uniform. In reviewing this film I need to declare a couple of loves. Firstly, Dorset. Of all the English counties, this has to be one of the most glorious. Green rolling hills, dramatic coastline such as that at Golden Cap (featured in the film), quaint villages and – most importantly in this context – gorgeously photogenic. Hopefully, this might tempt more visitors to stop there rather than 'driving on through' to Devon and Cornwall for their holidays. Secondly, and with apologies to the wife, Carey Mulligan. To be clear, this is not a sordid sexually-motivated affair (although there was THAT shower-scene in "Shame") but a deep love of her acting talents and screen presence. This is a love affair long in the making, beginning ten years ago with her startling presence in Bleak House at the age of 20 (looking much, much younger); her stunning minx-like Dr Who performance as Sally Sparrow in "Blink"; and on through her breakout movie performance in "An Education" in 2009. Where Mulligan excels is in roles where she can play a strong, confident and independent woman, so the role of Bathsheba is perfect for her. She is utterly believable as the 1870's landowner holding her own against the men-folk, and even pulling off the somewhat out-of-character plot twist half-way through the film. The supporting cast is also excellent. The ever-reliable Sheen ("The Queen"; "Frost/Nixon") delivers a heart-breaking performance as the love-lorn Boldwood; Schoenaerts (recently in "Suite Française") is manly enough with a scythe to no doubt set female hearts a flutter; and Sturridge is deliciously unpleasant in his powerful role. Above all, this is just a crackingly good story, through David ("One Day") Nicholls's tight screenplay. If you decide to avoid this film because it is "old stuff", think again. The roller-coaster ride of the plot gives UK and US 'soaps' a good run for their money in the drama stakes, and the denouement is both surprising and satisfying. Direction is by the relatively unknown (to me at least) Thomas Vinterberg ("The Hunt"), but big kudos needs to go to Vinterburg's collaborator Charlotte Bruus Christensen for the stunning cinematography: some of the scenes (notably the harvesting scene towards the end of the movie) are bucolically gorgeous. Also worth noting is the soundtrack by the brilliant but sparingly used Craig Armstrong ("Love Actually", "The Great Gatsby") which is luscious and suits the film to a tee. The woodland rendezvous scene makes your hair stand on end and this is largely down to the music combined with Claire Simpson's excellent editing. I struggle to find aspects to criticise. I was gripped, and suitably shocked at the right moments, which is just what you want for a good night out at the movies. Having already praised the cinematography, one gripe I would have is with the lens flare at the end of the film (natural this time, rather than of the JJ Abrams variety) which was annoyingly distracting to me in the closing scene: but I recognise this is a personal complaint that I might be alone in. Just a word of warning as well for animal lovers: that despite it being a UK 12A certificate, there are some pretty torrid scenes with sheep and a dog that might upset sensitive viewers - perhaps it should have been given a "Ewe" certificate (that joke will only work for UK readers!). In summary, this is a treat for a more elderly audience, but should be a must see for audiences of all ages as a rollicking good tale, well told and beautifully shot. (If you enjoyed this review, please see the multi-media version at bob-the-movie-man.com and enter your email address to receive future reviews. Thanks.)

• A decent adaptation of a problematic novel, which awkwardly tries to find a feminist angle where there isn't much of one to begin with.

  shawneofthedead2015-07-06

  How do you solve a problem like Bathsheba Everdene? It's a question that has plagued literary enthusiasts since 1874, when Thomas Hardy first introduced her to the world in one of his classic novels, Far From The Madding Crowd. Today, 141 years later, that same question haunts Thomas Vinterberg's sumptuous, smart adaptation - one that tries valiantly, but doesn't wholly succeed, in celebrating the strength of a character that was always somewhat illusory to begin with. In a time ruled and defined exclusively by men, Bathsheba Everdene (Carey Mulligan) stands apart as a free-spirited, independent young lass who refuses to bow to convention. When she inherits the farm belonging to her late uncle, she insists on running it herself - working in the fields and sacking the male workers who disrespect her authority. Small wonder, then, that Bathsheba draws the attention of three suitors, each one representing a different social class and a unique brand of manhood: stoic farmer Gabriel Oak (Matthias Schoenaerts); stern, serious-minded landowner William Boldwood (Michael Sheen); and sexy, emotionally scarred sergeant Francis Troy (Tom Sturridge). The main problem with Hardy's novel, which is largely replicated in Vinterberg's faithful adaptation, is its awkward attitude towards its lead female character. To be sure, Hardy gives Bathsheba a modern voice that still rings true today: "It is difficult for a woman to define her feelings in a language chiefly made by men to express theirs," she declares. It's a line so delicious that screenwriter David Nicholls nicked it wholesale for the film. And yet, on a deeper reading of the novel, it becomes far harder to tell whether Hardy is celebrating Bathsheba's independence, or punishing her for it. To their credit, Vinterberg and Nicholls do try a little harder to add a truly feminist bent to their version of Bathsheba's story. More care is taken to forge a genuine emotional connection between Bathsheba and Gabriel, even as her seduction of William Boldwood is made less purposeful. Bathsheba still finds herself approaching Sergeant Troy with lust rather than caution, but she does so in a more clear-eyed manner. In effect, Mulligan's Bathsheba seems bemused at and somewhat resigned to the sillier decisions she makes in her romantic pursuits. The trouble is that, while these little changes do add up to a stronger character, they also result in thematic and tonal confusion. The truth of the matter is that Hardy was not always concerned with celebrating Bathsheba as a character in her own right - he was frequently more interested in commenting on the ideal romantic suitor, the kind of man to whom Bathsheba should give her heart. There's never any doubt, in Hardy's mind at least, what her choice should be. After a point, then, Vinterberg's film flounders because there is, truthfully, no real tension in the romantic dilemma that stares Bathsheba in the face. It's a shame, because Vinterberg has brought Hardy's world to life with a very good cast indeed. Mulligan plays the fire and spirit of Bathsheba well, although she's trapped as much by the script as her character is by Hardy's words and ideas in the novel. As the sturdy Gabriel Oak (his surname says it all), Schoenaerts turns a rather dull but handy lump of a man into a semi-credible romantic prospect. The ever-reliable Sheen doesn't have quite enough screen-time, but nevertheless packs a great deal of depth and despair into the loss of William Boldwood's heart (and, perhaps, mind) to the charms of Ms. Everdene. There's almost more to be enjoyed in the semi-confessional scene shared by these two very different men as they sheepishly dance around their feelings for the same woman. Sturridge, meanwhile, is the relatively weaker link in the cast; his performance is fuelled more by his sexy moustache and saucy swordmanship than anything else. At a point in time when female-led films are being discussed, dissected and celebrated more than ever before, Far From The Madding Crowd would - at least on the surface - appear to be part of this growing tradition. The filmmakers have certainly tried to create a version of Bathsheba Everdene that's unequivocally appealing to a modern audience. But it's an effort that, ultimately, doesn't quite work, since the point of Hardy's novel was arguably more about the man Bathsheba should marry, and less about Bathsheba herself.

• Solid, well-made period drama- but not the definitive version

  JamesHitchcock2016-03-14

  This film, by the Danish director Thomas Vinterberg, is the first cinematic adaptation of Thomas Hardy's "Far from the Madding Crowd" since John Schlesinger's famous version in 1967. The story is too well- known for me to set out the plot at any length, but it revolves around the adventures of Bathsheba Everdene, a young female landowner in Victorian Dorset, and the three men who love her. These are Gabriel Oak, a humble shepherd, William Boldwood, a neighbouring farmer, and Frank Troy, a sergeant in a cavalry regiment. Vinterberg has set himself a difficult task. Schlesinger's film was a landmark of British cinema, marking the beginning of what I have come to think of the "heritage cinema" style of film-making. In my eyes at least, and I suspect in the eyes of many others, it has become the definitive version; I cannot re-read the novel- it is a favourite of mine and I have read it several times- without picturing Bathsheba as Julie Christie, Gabriel as Alan Bates, Troy as Terence Stamp or Boldwood as Peter Finch. Like Schlesinger, Vinterberg sticks fairly closely to Hardy's story, although of necessity some minor episodes have had to be omitted. There were one or two touches I didn't really care for, such as the scene where Troy grabs Bathsheba by the crotch. In the novel Hardy describes Troy's seduction of the young woman with great delicacy. This is not just a question of Victorian prudery, but also of psychological realism. A girl as independent and determined as Bathsheba would have resented such a crude approach; had Troy attempted it he would doubtless have got his face slapped for his pains. I also felt that this version rather inflated the social status of both Bathsheba and Boldwood. In the novel both are prosperous farmers, but nothing more. Here they live in the sort of style which would suggest she is the Lady of the Manor and he a wealthy aristocrat. Hardy's novel is, among other things, a celebration of the English countryside, and this aspect is brought out well here. Like Schlesinger's, the film is visually attractive with some striking photography of the rural landscapes, often seen bathed in a soft, golden glow. On the acting side I was most impressed by Matthias Schoenaerts as Gabriel. His interpretation is rather different from Bates's, making his character perhaps more genteel and less rough-hewn, but still a man of great sensitivity and integrity. The Belgian-born Schoenaerts speaks flawless English with no hint of a foreign inflection, although it is noticeable that, unlike Bates, he does not attempt a West Country accent. Possibly wisely- English regional accents can be notoriously difficult for foreign-born actors. On the other hand, I was less impressed by Tom Sturridge who makes an unmemorable Troy, lacking the roguishness and devil-may-care charm which Stamp brought to the role. Michael Sheen is better as Boldwood, but never quite matches Finch's desperate, nervous intensity. The difference, perhaps, is that Sheen's Boldwood is obsessed by Bathsheba whereas Finch's is almost literally possessed by her. Carey Mulligan has plenty of experience in films of this type, having inherited the crown formerly worn by Helena Bonham-Carter and Keira Knightley, that of Reigning Queen of Period Drama. She has been praised for her performance here, but personally I preferred Christie's rather more imperious and headstrong interpretation. Vinterberg's film is a generally solid, well- made piece of period drama, but for me it will not replace Schlesinger's as the definitive version. 7/10

• Far from the Madding Crowd

  troyputland2015-10-27

  Far from the Madding Crowd, a well respected novel with an adaptation already to its name, hasn't got much new ground to cover. This 2015 film, starring Carey Mulligan, upholds the book's reputation. Bathsheba (Mulligan) is a headstrong farm owner who meets three possible suiters in a short space of time; Gabriel the farmer, William the nobleman and Frank the soldier. All bear distinctive qualities. All wish Bathsheba to marry them the moment they lay eyes on her. FftMC favours one man over the rest. We're smitten before even given the chance to decide. Mulligan's the charismatic, leading lady, making decisions that come at a price. Schoenaerts, Sturridge and Sheen add flavour to this period drama, their personalities and dialogue capturing what action cannot.

• Classic Drama/Romance

  askJarv2015-10-23

  Warning: I watched this on a flight so not necessarily a visual treat... Set against lovely backdrops of the country side and telling a classic story, Far from the Madding Crowd is the best period drama I've seen since Pride and Prejudice. As a tale, FftMC's characters are as true and real as they ever are - whilst the gender story isn't as important as it might once be (although it's not entirely irrelevant no matter how much I'd like to hope it would be) and the politics of the era hopefully something of the past, this story still explores the plight of love and trying to be true to yourself under outside pressures which, I feel, remains as true today as it ever did. The soundtrack does manage a few mis-steps, but is generally lovely and the overall package feels very polished and beautiful. Casting is solid and the script manages to be modern without losing any of the charm of the classic. The story itself, if you don't already know it, is touching and heart warming - human and full of love and mistakes - and just prefect as a result.