Review of Far from the Madding Crowd (2015) by Foxgrove — 06 May 2015

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.