Far from the Madding Crowd
(B- or 3/4 stars)
Thomas Hardy's classic 19th century novel 'Far from the Madding Crowd' doesn't seem to enthrall me. I haven't read it {shocker}, but I saw John Schlesinger's 169 minute 1967 film adaptation starring Julie Christie, Alan Bates, Peter Finch, & Terence Stamp and, I wasn't bowled over by it. Now, in 2015, I've just seen Thomas Vinterberg's version and, while it's very well acted & gorgeous to look at - I just can't seem to appreciate the story; just doesn't do it for me. But more on that later, onto the plot. On a small farm in Wessex - 200 miles from London - Bathsheba Everdene (Carey Mulligan) discovers that she's inherited her uncle's vast estate. A headstrong, independent young woman looking to fend for herself, she reluctantly receives not 1, not 2, but 3 marriage proposals during the course of the film.
Her 1st is from the rugged, but handsome shepherd, Gabriel Oaks (Matthias Schoenaerts), a strong, stable & sensitive man who becomes her moral compass throughout the proceedings. Upon rejecting him, she notes, "I have no need for a husband. I don't want to be some man's property" {told ya she was independent}. But while she rejects him, she says it with a smile in her eyes. The 2nd proposal comes from her wealthy, honorable neighbor William Boldwood (Michael Sheen), a lonely, taciturn man who persistently offers her financial security. And the 3rd proposal comes from Sgt. Frank Troy (Tom Sturridge), a devilish cad whom she inexplicably falls for & recklessly marries -- a decision she immediately regrets since he gambles away her $$ and has strong ties to a pregnant woman (an underused Juno Temple). And so, Bathsheba Everdene is put to the test with each adversity she faces; adversity on her farm, and adversity in love.
'Far from the Madding Crowd' is a romantic drama that deals with such themes as sorrow, loss, & regret. The story has its lighthearted moments, but it’s a fairly to go along with the dark film that is littered with uneasy images & feelings. I warn now: there are shocking images of sheep falling over a cliff & smashing on rocks below. There is death, including that of a baby, etc. -- this isn't some swoony 19th century Jane Austen or Merchant/Ivory productions from the early 1990s. Having said that, it surrrrre looks pretty. This film is beautifully & lushly photographed by Charlotte Bruus Christensen, who captures a number of breathtaking shots & visual motifs. The set design & costumes are also presented with great care; with 1870 period details that make you feel like 'you are there' in the windswept moors.
Carey Mulligan is a great choice to play the attractive, cool, confident, free-spirited, & impetuous Bathsheba. As a character, I respect her strength as well as the story's modernist spin to make her more of a feminist (doesn't need a man to be complete!). She's a tough cookie, but oddly enough, despite her impetuousness and because of Mulligan's astute portrayal, we still somehow find empathy for her. Matthias Schoenaerts, the Belgian actor who is slowly creeping into more mainstream productions {thankfully} is excellent as the wise, soft-spoken Gabriel Oaks. He may have been a smoldering volcano is films like Bullhead, Rust & Bone, and The Drop ... but he excels at being romantic, as well. You want him to 'get the girl'. Michael Sheen is very sympathetic as the somewhat pathetic, lonely neighbor who desperately longs to marry Bathsheba. His is a poignant & tragic character that I feel the story takes a proverbial dump on; didn't like that.
The only casting misstep would be with Tom Sturridge as Frank. I didn't like him & don't see HOW Bathsheba would ever fall for him; especially when you line him up side-by-side with Gabriel. There's no passion there and, the whole thing felt forced & inauthentic to the story -- no good. But then, that's part of my biggest issue with this otherwise finely produced movie ... too much of the proceedings felt false. For as empathetic & refreshingly modern she is as a female heroine, I didn't care for many of Bathsheba's decisions. Those decisions felt inorganic to the personality we know her to have. Furthermore, to keep the running time under 2 hours, the dramatic narrative was abbreviated; eliminating essential character development. In the end, while I admire the feminist twist on the story, & enjoyed the performances/visuals, & like that the film ends on a high note ... the actual story (and execution here) is too agitating & somber for me to heap massive praise upon it.
Her 1st is from the rugged, but handsome shepherd, Gabriel Oaks (Matthias Schoenaerts), a strong, stable & sensitive man who becomes her moral compass throughout the proceedings. Upon rejecting him, she notes, "I have no need for a husband. I don't want to be some man's property" {told ya she was independent}. But while she rejects him, she says it with a smile in her eyes. The 2nd proposal comes from her wealthy, honorable neighbor William Boldwood (Michael Sheen), a lonely, taciturn man who persistently offers her financial security. And the 3rd proposal comes from Sgt. Frank Troy (Tom Sturridge), a devilish cad whom she inexplicably falls for & recklessly marries -- a decision she immediately regrets since he gambles away her $$ and has strong ties to a pregnant woman (an underused Juno Temple). And so, Bathsheba Everdene is put to the test with each adversity she faces; adversity on her farm, and adversity in love.
'Far from the Madding Crowd' is a romantic drama that deals with such themes as sorrow, loss, & regret. The story has its lighthearted moments, but it’s a fairly to go along with the dark film that is littered with uneasy images & feelings. I warn now: there are shocking images of sheep falling over a cliff & smashing on rocks below. There is death, including that of a baby, etc. -- this isn't some swoony 19th century Jane Austen or Merchant/Ivory productions from the early 1990s. Having said that, it surrrrre looks pretty. This film is beautifully & lushly photographed by Charlotte Bruus Christensen, who captures a number of breathtaking shots & visual motifs. The set design & costumes are also presented with great care; with 1870 period details that make you feel like 'you are there' in the windswept moors.
Carey Mulligan is a great choice to play the attractive, cool, confident, free-spirited, & impetuous Bathsheba. As a character, I respect her strength as well as the story's modernist spin to make her more of a feminist (doesn't need a man to be complete!). She's a tough cookie, but oddly enough, despite her impetuousness and because of Mulligan's astute portrayal, we still somehow find empathy for her. Matthias Schoenaerts, the Belgian actor who is slowly creeping into more mainstream productions {thankfully} is excellent as the wise, soft-spoken Gabriel Oaks. He may have been a smoldering volcano is films like Bullhead, Rust & Bone, and The Drop ... but he excels at being romantic, as well. You want him to 'get the girl'. Michael Sheen is very sympathetic as the somewhat pathetic, lonely neighbor who desperately longs to marry Bathsheba. His is a poignant & tragic character that I feel the story takes a proverbial dump on; didn't like that.
The only casting misstep would be with Tom Sturridge as Frank. I didn't like him & don't see HOW Bathsheba would ever fall for him; especially when you line him up side-by-side with Gabriel. There's no passion there and, the whole thing felt forced & inauthentic to the story -- no good. But then, that's part of my biggest issue with this otherwise finely produced movie ... too much of the proceedings felt false. For as empathetic & refreshingly modern she is as a female heroine, I didn't care for many of Bathsheba's decisions. Those decisions felt inorganic to the personality we know her to have. Furthermore, to keep the running time under 2 hours, the dramatic narrative was abbreviated; eliminating essential character development. In the end, while I admire the feminist twist on the story, & enjoyed the performances/visuals, & like that the film ends on a high note ... the actual story (and execution here) is too agitating & somber for me to heap massive praise upon it.