The Woodlanders

Typical British drama based on a novel by Thomas Hardy, the author of "Jude the Obscure", "Tess of the d'Urbevilles" and "Far from the Madding Crowd". As usual in Hardy's stories, it is set on British countryside and focuses on the ordinary lives of its local people. As usual in this kind of movie, it is really well-made and extremely well-acted, but also bureaucratically directed.

Hardy's characters are quite human, they are always looking for happiness in the wrong places, making bad choices, missing the best opportunities. Here is not different. Marty loves Giles who loves Grace who loves him no more. She is unsure about her feelings since she returned from a period of studies in the town. The small village where she grew up doesn't look much attractive now, neither Giles does. She dreams about going abroad with Mrs. Charmond, the rich landowner widow, while she flirts with the newcomer young doctor - he also came from the town. Soon all of them will be facing the unavoidable fate.

The woodworker Giles (Rufus Sewell) reminds me the shepherd Gabriel from "Far from the Madding Crowd": both are honest, hard-working, heartbroken men. Emily Woof is just perfect as Grace; she looks like Cate Blanchett and she can even play like her. Unfortunately Jodhi May has just a small role as Marty the poor girl who sells her beautiful long hair to survive, a very sympathetic character. Tony Haygarth is also excellent as Grace's father, a well-intentioned man who wishes only the best for his daughter, but practically manipulates her life. I usually see Haygarth playing weird roles, like Renfield in "Dracula" (1979) or the Mad Hatter from Alice's Wonderland in "Dreamchild", so it is refreshing to see him playing normal types. Good film, good story, but not recommended for people looking for something light.

I found this very involving and affecting in a way that I've not found other Hardy adaptations or the books themselves. As a film it has an unusual combination of modesty of style - no great acting showiness - and of the characters themselves, allied to an inspired and faultless control of light and mood.

It has an immense integrity - the recreations of the woodlander's homes and workplaces, as mentioned earlier the superb faultless control of the quality of light (longish scenes shot just after dawn, at dusk etc etc), the authentic period behaviour and manners, the unforced pace mirroring the mood. It is full of traditional understated virtues both the story itself and in the way it wears its technical virtuosity.

If Titanic (mentioned by an earlier reviewer) was a great clanking iron CGI mechanical monster, heavy handed in all departments, this is all living and breathing humanity on a human scale - an increasingly rare treat.

Giles (Rufus Sewell) is the right-hand man to a successful, rural logger. A handsome gent, he and the business owner's daughter, Grace (Emily Woof) grew up together and became very attached. But, the logger always had a chip on his shoulder that he was not refined so he sent his only child to a finishing school for some years. Now, Grace is coming home and Giles is eager to re-establish a relationship with her. But, alas, the beautiful young lady, although quite kind, is hoping to make a better match, having her head filled with bookish nonsense. This stuns Giles but, he keeps on keeping on. Even when he loses his home to a local woman's pettiness, the handsome man stays true to Gracie and his community. As bad luck would have it, there is a new doctor in town and once Gracie meets him, she sets her sights on him and the interest is mutual, resulting in marriage. How can this be, when clearly the doctor is a somewhat pompous and flawed individual and Giles is such a handsome, true-to-you kind of male? This is a complicated tale from the great writer, Thomas Hardy, of 19th century England. Hardy excelled in penning books about ordinary, country folks who sometimes had terrible exchanges with the wealthier, more powerful classes. Tragedy was often the result and the story here is much of the same. Admirably, this film is never melodramatic or forced but tells the complicated story very well. Also, the cast is quite wonderful, all of them, even though Sewell or Polly Walker are the only known actors. Then, too, the setting in the English countryside is very lovely and authentic, showing the beauty and the rustic nature of the existence in another time, another place. Costumes, too, are sensational, the productions values are very fine, and the script and direction are most competent. If you adore the classics, romance, or historical tales, you would do well to search for the Woodlanders. It is a powerful story that would spark a most animated discussion, even as it entertains.

I have really discovered Thomas Hardy through wonderful movies like Tess (Tess of the d'Urbervilles) (1979), Far from the Madding Crowd (1967 & 2015) and the 1978 TV mini-series of The Mayor of Casterbridge as well as the 1971 TV mini-series , Jude the Obscure (1971).

This is also a wonderful discovery for those of us who have come to love movie versions of Thomas Hardy novels (or stories). It tells the story of a young woman who has been sent off to finishing school by her father so that she can rise above the level she has grown up in: the lower- class timber workers of the deep woods in 19th-century rural England.

Though she and a local woodlander had had an agreement to marry when they came of age, her father wants something better for her and encourages her to marry a local doctor who lives and practices in the village. She agrees to marry the doctor, but soon learns that he cannot stand the crude rustic manners of the local people.

This sets up a series of conflicts between her and her father as well as the way she feels about the life she had been raised in and the life that her father wants for her. I love the way the story unfolds as well as the dark (and often wet) sylvan atmosphere that it so capably captures and inhabits.

Thomas Hardy wrote such classics as Tess of the D'Urbervilles and The Mayor of Casterbridge, yet he always maintained that his best work was the often overlooked The Woodlanders. This film version is first-rate. I saw it a week after I saw the mega-budget Titanic, and I actually found this film more moving and more engaging that the costly James Cameron epic.

The story is faithful to the book, but omits some of the peripheral details. It's about a young woman who returns to a close knit woodland community after several years away. In that time, she has become an educated lady, and she finds it quite difficult to relate to the people she once grew up with, having experienced wider and more varied cultures. Her childhood sweetheart is a simple woodcutter, and she feels that she is now too "good" for him, so she forsakes her fondness for him and marries a wealthy and educated doctor, with tragic consequences.

The film was filmed in the New Forest (a gorgeous area of England) and it is a visual treat from first frame to last. The scenery is simply ravishing. Furthermore, the performances are very thoughtful and persuasive, complementing the sharp and carefully worked out script. This is definitely one of the best adaptations of a Thomas Hardy novel, and it can stand alongside Polanski's Tess and Schlesinger's Far From the Madding Crowd with its head held high.