SummaryIndependent, beautiful and headstrong Bathsheba Everdene (Carey Mulligan) attracts three very different suitors: Gabriel Oak (Matthias Schoenaerts), a sheep farmer, captivated by her fetching willfulness; Frank Troy (Tom Sturridge), a handsome and reckless Sergeant; and William Boldwood (Michael Sheen), a prosperous and mature bachelor. ...
SummaryIndependent, beautiful and headstrong Bathsheba Everdene (Carey Mulligan) attracts three very different suitors: Gabriel Oak (Matthias Schoenaerts), a sheep farmer, captivated by her fetching willfulness; Frank Troy (Tom Sturridge), a handsome and reckless Sergeant; and William Boldwood (Michael Sheen), a prosperous and mature bachelor. ...
Director Thomas Vinterberg’s romantic rollercoaster honors Hardy’s rustic vibe. Remarkably, too, he’s made a thoroughly modern film anyone can relate to — it’s like a “what a woman wants” discussion set in Victorian times. It’s also an instant classic.
I enjoyed this film as a period drama, with some big names in the cast (Carey Mulligan and Michael Sheen being the main two). The story is perhaps a little cliched but I enjoyed it never the less. Its very much a film about dashing men (both young and not so young) vying for the attention of a pretty woman. A few years ago I wouldn't be interested in such a film but I did very much enjoy this, as the characterisation of the main character, Bathsheba Everdene, is very good - I found myself feeling both sorry and frustrated by her at different times. I like that Bathsheba is an ambitious and principled woman and I found myself wondering what may be next to happen, plot wise, as the film continued. Also, the film score is quite good - it certainly doesn't feel like a budget film and so I would recommend it.
Engrossing update of Thomas Hardy’s classic book, this pared down version by director Thomas Vinterberg is nearly three quarters of an hour shorter than Schlesinger’s flawed epic made in 1967. Comparisons to the earlier film are inevitable, but the good news is that there is room for both. The 1967 version spent much time evoking period and place, whereas here for much of the time Vinterberg keeps his camera in close on the people creating a more intimate and, it could be argued, less ambitious film. Gone are the longeurs of the previous version. This screenplay adaptation is lean and economical in the telling, propelling what is essentially a very good story forward with the minimum of fuss, but to maximum effect. The acting in both films is very good. Carey Mulligan aces Julie Christie’s more flirtatious and frivolous Bathsheba by playing the part in a more level headed manner. However, when her head is turned by the unsuitable young soldier her subsequent actions seem be more in keeping with Christie’s playing of the character than Mulligan’s. Of the men there is not much to choose between Peter Finch and Michael Sheen, respectively as farmer Boldwood, the desperate and obsessed middle aged neighbour and suitor. Likewise Terence Stamp and Tom Sturridge as the aforementioned soldier Troy, who finally weds Bathsheba whilst being the least suitable suitor for her. Only Mathias Schoenaerts as the shepherd Gabriel doesn’t bear comparison to the earlier incarnation of the character then played by Alan Bates. Whilst looking every inch the part Schoenaerts comes over as one dimensional, strangely lacking any of the screen charisma that he has brought in abundance to his foreign language roles.
Vinterberg directs with a sure hand and the film never panders to its audience. A lot of what is happening is subtly introduced often via a look, a gesture or other nuances. The period feel is perfect often evoking pleasant memories of Schlesinger’s film whilst retaining a strong identity of its own. The editing keeps the story fluid and concise and although the score is lovely at times it’s also inevitably disappointing. This is due to the fact that the music being used in the trailer, from the 1987 film ‘Maurice’, is a lot lusher and more sweepingly romantic than the score finally recorded. Still, In an age of unnecessary remakes it is good to report that here we have one that works beautifully. The two films can co- exist and, indeed, compliment each other.
Vinterberg may rush the final act, but he gets pitch-perfect performances from Schoenaerts, Sheen and Sturridge and brings out the wild side in Mulligan, who can hold a close-up like nobody's business. She's a live wire in a movie that knows how to stir up a classic for the here and now.
Hardy gave his heroine a symphonic range, and all an actress can do is pick out certain tones and strains — the fluted whimsy by which Bathsheba is occasionally stirred, or the brassiness of her anger. Julie Christie was the more accomplished flirt, and her beauty was composed of fire and air, whereas Mulligan relies more darkly on earth and water.
Far From the Madding Crowd will no doubt captivate future generations of tenth-graders who couldn’t be bothered to read the book, but it flattens the complex characters and grand scope of Hardy’s novel into an airless and overly truncated CliffsNotes version.
Three men like the three different seasons in a woman's life!
This is a wonderful drama, I have been waiting for such film to come and since its release, I have been looking forward to this day. The romance is the theme of the film, so not the entire film as what it looks like. Based on the one and half century old novel of the same name and the fourth film adaptation. I have seen only 'Tamara Drewe', but that was altered to the present era, other than that I've not seen any other version. Still, I believe this will be remembered as the best one so far.
I would say Carey Mulligan is the British version of Jake Gyllenhaal. Because they both make fine films, I admire their selection of the films. Mulligan was so brilliant here and in addition to that, Matthias Schoenaerts was equally good. They both made this film look so poetic, and so supporting cast including Michael Sheen and Tom Sturridge contributed well.
If you like periodic drama, then you probably would enjoy it. The story was excellently told. The three layered romance was narrated like three that happens in the different seasons. Like landscape change, how humans too transform was quite neatly briefed for over two hours. One of the best films in the recent time I've seen. The director of 'The Hunt' did a great job. If you like Jane Austen's kind of story narrations then you must try this, so I highly recommend it!
8/10
Well, you can tell the story by heart, I guess it is kind of cliche that a poor guy has a feeling for a rich girl who likes to be free and independent, the girl tries her chance with another man but she finds out that the framer guy is the best choice. isn't that a cliche?
A double-bill of two film adaptations of Thomas Hardy’s novel, about a Victorian liberated and strong-willed girl named Bathsheba Everdene (Mulligan/Christie), who is an orphan but fortuitously inherits a farm from her late uncle, but in due course, her romantic entanglements with three very different men, the honest and devoted shepherd Gabriel Oak (Schoenaerts/Bates), the wealthy, middle age bachelor William Boldwood (Sheen/Finch) and a hot-headed sergeant Frank Troy (Sturridge/Stamp), will teach her a hard lesson with a shocking third act.
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uneven pace, and patchy emotional fluency of the movie prevent the characters to be taken seriously. beautiful cinematography, yet the movie lacks the same detailed, exquisite work in character development.
Hardy’s “Madding” begins as a smart Taming of Bathsheba but ends a baa'd Fifty Shades of Hay - as feminist turns to fool. Men - Gabriel - a sheep farmer whose flock goes a stray- William- a loner with wealth - and Frank- a soldier with a wandering sword- fall at her feet but this virgin gal fights for equal pay, free choice and independence until her private parts cause a brain fart. Far from a frenzy - one loses all respect for our heroine by the final frame when her life’s fate is sealed with a kiss.