Tom Jones

This was a great film in its time, and is still a great one today. Well-directed, well-acted, well-shot, great soundtrack, and based on a splendid literary vehicle.

It's frustrating to see so much uninformed voting and so many uninformed remarks on this otherwise wonderful site; I guess its inevitable since anyone can post anything. But I would like to point out that Tom Jones did not sleep with his mother as erroneously alleged, and that Albert Finney, 26 or 27 years old at the time of shooting this film, clearly did not look too old for his part.

I haven't read the book(s), but from the film it's obvious that Dickens was much indebted to Fielding, using his amazing invention as a convoluted plot model (and perhaps a character-naming model) for many of his works.

Go rent this film after seeing Finney in the currently playing Big Fish -- it's great to see him do so well in such very different films made in different millenia, nearly a full professional lifetime apart.

I find it almost impossible to believe that there are people out there that did not find movie hilarious. There are so many memorable scenes, so many wonderful lines and such great acting! This is easily one of the most entertaining movies I've ever seen, and definitely the most entertaining British film. It gets a perfect 10.

This was the period when French New Wave was supposedly reinventing cinema. Unfortunately, the French could only do so by citing Hollywood forms (mostly gangsters) and placing them in new contexts. That left lots of room for an intelligent Hollywood project to best them by exploiting itself. So much more could be done.

The rough form would be a contrast between the refined and the uncouth, between disciplined manner and unbridled lust, between old Hollywood presentation and the new. Thus, the uncouth merges with sex and the presentation used here.

That presentation form is at once hyperrealistic — hand-held verity, engagement with running horses, A specific film joke where Tom and Sophie follow each other riding animals, widely varying lighting schemes using found light, frequent direct dialog with the audience — and highly stylized "old" stuff: swordfights, wellworn plot closures, a typical love story but where the girl is halfway in the old and new worlds.

Make no mistake: the star of this is Suzanna York as our surrogate. Will we embrace this new manner of film-making, directly sensual and "real?" Of course we do, as much as no woman can refuse Tom

No serious watcher of film can omit this from their schedule. And it needs to be followed by "Barry Lyndon," and "Sex and Lucia."

Kubrick's project took this same story from the other side, the refined one. Its cinematography is lush and precise. But the project is one that contrasts nature (rather than raw sex acts) with foppish aristocracy (rather than general city society). But the intent is the same, to charm through images, just in Kubrick's case the images are aristocratic.

Medem's project is much more sophisticated, switching the dial so that the sex/repress, country/city, realistic/stylized image contrast is between experienced truth and written truth. But the same noir-like capricious fate is at work through copulation in Lucia as in Tom. The same idea as targeted woman, lovely desirable woman as the viewer's surrogate (and judge).

Ted's Evaluation -- 3 of 3: Worth watching.

A fun and fresh screen adaption of British writer Henry Fielding's 18th Century novel of the same name, made at the threshold of the swinging (19)Sixties. Like the original story's French counterpart (Les Liaisons Dangereuses=Dangerous Liaisons), at its heart is a mannered metropolitan love triangle.

But before we arrive in the heart of London the stage is set amidst the lush green English countryside in Summer. Here we first meet the protagonist, Tom Jones, played by Albert Finney in his most youthful bloom, and his extended family representing every facet of post-Glorious Revolution England.

An incorrigible ne'er-do-well, Tom's genuine love for his neighbor Squire Alworthy's daughter Sophie (a very lovely Susannah York), takes him to the heart of fashionable London society in a series of comedic wrong-turns and misunderstandings. Here he becomes embroiled in the games of the jaded aristocrat Lady Bellaston played by Joan Greenwood. Greenwood steals the show as the original Mrs. Robinson and, through her machinations, Tom is led to the gallows. But at the last minute...

Throughout the movie is paced with a modern sense of realism, made effective by hand-held camera sequences and the quick editing of Antony Gibbs. Old-fashioned film techniques are used effectively with eye-to-the-camera realism, and convey an up-to-date feel. There are moments of beauty as well as comedy in this very satisfying entertainment. The cast is stellar with many familiar names--Hugh Griffith, Rachel Kempson, David Warner (in his first movie), the settings realistic, and the the musical score a perfect fit. A great time overall!

An interesting note, supposedly this is the last movie seen by John F. Kennedy (in a White House screening) before he was assassinated.

Just two hundred years after Henry Fielding's novel appeared, the theatre-actor-turned-cinema-director Sir Tony Richardson rounded up a few Shakespearean-trained prodigees, got John Addison to compose hectic clavichord accompaniment a little in the style of Handel operas and set all this against lush photography to produce one of the most hilarious films of the last five hundred years. Fielding's novel – which is a most definite recommendation – rather cynically but good-humouredly exposed mid-eighteenth century British hypocrisy at its best and the landed gentry's obsession for fox-hunting at its worst. Richardson directed all this a bit like an elderly Sir Thomas Beecham ('the important thing is we all start and stop together; nobody notices what happens in between') raising his baton in front of the London Symphony Orchestra: the result in both cases is astounding. Richardson conducts his piece at a tremendous pace, Addison's clavichord tripping along gaily so as to keep up the illusion, and visual sequences such as a young trouserless Albert Finney escaping out of a window, shinning down a tree and running off into the nocturnal depths of a beech forest, all combine to keep you breathlessly awaiting the next scene. Susannah York is just delicious, with that innocent facial beauty that raises heartbeats, especially in the latter parts; and Angela Baddely as Mrs. Wilkins and Diane Cilento as Molly play some great scenes. And some of the great scenes are worth telling...... Tom and Mrs. Wilkins enjoy a good roast with fruit, eating lusciously and lascivously, eating each other up with their sparkling eyes: this scene is hugely delightful. The other great scene is the fox-hunt: this alone puts the whole film into a special category: brilliant film-making, almost comparable to the famous chariot race in Ben Hur........ I loved this film 37 years ago, and recently had the luck to see it again: having doubled my years, I was just as enthralled and enraptured as the first time. A splendid piece of art.