Joseph Andrews

History has forgotten this film, it's never talked about, almost never shown. Why? It's certainly not a quality problem. Richardson was of course trying desperately to get back to the level of success Tom Jones had a decade before. The fact that he's trying to copy himself gets the film some minus points.

The story is simple, a little too dependent on coincidences and unrealistic twists. The costumes are great, as are the wonderful settings. You certainly feel like you really are there in the 17th Century.

Firth and Ogle as the young loving couple are attractive but bland. They fail to live up to the comedic demands of Fielding's story. The rest of the cast does a very good job on the other hand. Special mention should go to Michael Hordern and Beryl Reid, two of Britain's finest actors.

Nevertheless the best acting in the film comes not from one of the British theater and character actors but instead from the only American in the cast: Ann-Margret. She was rightfully nominated for a Golden Globe but would have deserved an Oscar non too. It's a brilliant satiric performance full of subtlety and vulgarity at the same time, comic timing that's never off, she dominates the film. Considering the talent that is working alongside her, that's quite a feat. Her accent is perfect too, something that rarely happens and could so easily destroy such a film. In the worst possible scenario she could have been an anachronistic sex kitten from the 60s stuck in a costume drama: Those fears never come true, she's great. The thick make-up (that fits the role perfectly) prevents us from seeing hernatural beauty but she's still quite a sight. Why American producersdidn't see the film and immediately give her a comic lead role in anHollywood A film, seems like a brutal shame.

Overall, a fun little history story of love, romance and adventure.

This sumptuous 18th Century romp is both bawdy and beautiful (sometimes simultaneously). From powdered wigs and fluttered fans to farmyard frolics there is fast paced farce. But it is Ann Margaret who commands attention - the white-faced period make-up accentuates her expression whether of predatory interest in a fresh faced youth or flashes of anger and frustration when her designs and desires are thwarted. I'm not sure any of her actress contemporaries could summon up that amount of power in a single look.

Richardson once again brings humour to history (the traffic jam of horse-drawn carriages is neat and funny). Even the demise of Ann-Margaret's elderly gouty husband ("taking the waters" at Bath in England) combines beauty with dark humour.

One curious inexplicable failing are the opening titles - firstly in the dreadfully monotonous and repetitive song sung in thoroughly undistinguished fashion by Jim Dale and the flat, lifeless and pointless visuals appearing behind the titles. Those who have seen the dazzling title sequence to his "Charge of the Light Brigade" will be especially struck by difference. In this latter case the titles had been farmed out to an animator who regarded it as his best - and hardest - work. What a shame Richardson did not do the same here.

Overall a classic even if flawed.

There's one or two disturbing moments in this film, but overall a very British earthiness is apparent in the rhythm, tone, and incidents of the film. The costumes and make-up are both a delight and (as best I know) historically accurate. Not that they're always wearing costumes.... Lots of top notch English actors (Peter Firth, young - and ludicrously pretty - here, hasn't stopped since). The reversals of fortune probably owe more to Fielding than the scriptwriter, and are a reminder that soap opera has a long history, under whatever name. -- For those who don't understand the term "double entendre", the shot of Ann-Margret's character lovingly swallowing the full length of an asparagus dipped in oil should about clear it up.

18th century romp with Peter Firth as the titular Joseph, unclear on his family lineage and forced to undertake various adventures usually to save the honour of his beloved Fanny (Natalie Ogle).

Full of wigs, gout and heaving bosoms, this attempt by director Richardson to do Tom Jones again, has its charms, but ultimately the sum of its parts, often fun as they are, do not make for a full and compelling romp. There is a wonderful display of British character actors on show here which helps, but in the end it is all rather a mess and a bit of a disappointment.

By the late seventies Tony Richardson was a greatly diminished figure when he and Woodfall again joined forces to attempt to rekindle the magic of his Oscar-winning triumph of the early sixties by returning once more to Henry Fielding.

Peter Bull and Hugh Griffith repeat their roles but overall it completely lacks the vigour and pace that made the original film seem so refreshing; while John Addison's score isn't a patch on his earlier work.

Ann-Margret cuts an impressive figure as Lady Booby but compared to Albert Finney baby-faced Peter Firth in the title role is just a hole in the screen.