The History of Tom Jones, a Foundling

I saw this when it was first shown in the UK in 97 and I still love it. It was amazing - fun, gripping, well acted. I fell in love with Max Beesley and it even made me want to read the book. I cannot see how anybody could not get dragged into the great plot and the wonderful acting, music and camera work. Well done, BBC!

The BBC and A&E have done it again. TOM JONES is intricate, daring, surprising, funny, and has more fresh air than one might expect of a literary adaptation. Brian Blessed is a revelation as Squire Western, looking more like a Hogarth caricature than seems humanly possible. The rest of the cast are energetic and well-suited to their roles, and the result, at five hours, will surprise many who only know the rascal Tom Jones from the Albert Finney film... There's a lot that that short movie left out, and it will at times remind you of Dangerous Liaisons...which of course was written later... Anyone want to bet that Choderlos de Laclos read Fielding?

I was looking for an earlier version of this movie because I saw it mentioned in an article in Vogue (about a designer, I think it was Diane von Faustenberg, who modeled her wedding on this movie) and got the impression that it would have beautiful costumes. I rented this version without realizing it was the wrong one but I was not entirely disappointed.

The costumes were okay but it was the story I loved. It is such an interesting and engaging story and the acting was good. I couldn't wait to see what else could happen to poor Tom Jones next. I thought that Honor, the lady's maid was an exceptionally entertaining true character and that Benjamin Whitrow as the good squire was totally believable, he was the personification of a good sober man. The movie is long but I couldn't tear myself away from it. In a world of movies with weak plots this movie was hearty as stew. I'm going to try to find the 1960's version too.

This mini-series produced by the BBC and A & E has got to be one of the finest things television has given us. It ranks with I Claudius and Elizabeth R as great dramatic art. Full of wit, great storytelling, and wonderful acting, this version of Henry Fielding's classic tale gives the Albert Finney movie from the 60's a run for it's money and emerges triumphant.

Firstly, the adaptation is masterful. Having Fielding himself narrate the story (delightfully played by John Sessions) was a stroke of genius. It has the advantage of presenting this boistrous tale in much more detail than the previous movie. Fielding's characters are so rich (much like Dickens) that

you don't mind spending alot of the time with them. Characters like Allworthy, Partridge, Thwackum and Square are comparative non-entities in the Tony Richardson movie. Here they emerge as sharp etched portraits that give the story so much more substance. In addition, the 1963 movie had to leave out large chunks of the story to tell it in under three hours. Additionally, Richardson's screenwriter John Osborne changed many details of the story to account for cutting out so many characters. Simon Burke and his collaboators on this project stick to Fielding with great results.

The direction by Metin Hüseyin is simply wonderful. He tells us the story and relishes every moment. The mini-series is cast with a splendid ensemble of actors. The great Brian Blessed has a field day with the boorish Squire Western. Frances de la Tour as his prune faced sister doesn't erase memories of Dame Edith Evans from the movie version, but she is very convincing nonetheless. James D'Arcy's Mr. Blifil is a brilliant, consistant job of careful, understated, contrived villainy. And Lindsy Duncan is a revelation as the evil Lady Balleston. Joan Greenwood is not nearly slimey enough in the movie version. Duncan manages to outdo Glenn Closes's sensual depravity in Dangerous Liaisons.

Max Beesley doesn't mug his way through the role like Albert Finney did. He plays Tom as more of the Candide-like innocent and is all the more attractive and sympathetic because of it. Samantha Morton's Sophia is simply unbelievable. She has a wide emotional range throughout the story and plays each moment to near perfection. She also exudes more capricious youthfulness than did Susannah York in the movie. The large supporting cast is excellent; not a weak performance among them.

I must also mention the delightful musical score by Jim Parker that adds to the movie's entertaining virtues.

Yes, the Tony Richardson won't Best Picture at the Oscars. But frankly, it's looking very dated these days. To be sure, it has it's wonderful moments, but it is far superceded by the newer effort.

So thank God for the BBC and A & E who continue to bring us classics like this in versions far more lucid than Hollywood could muster. Don't be swayed by Julie on the title page. This is a clear winner!

I loved this miniseries and went out and bought it. It's extremely true to Fielding's style and philosophy, and I've always been a big fan of Fielding. I think it's far superior to Tony Richardson's version, in which Albert Finney was just too old to play this part. I think Max Beesley achieves the mix of innocence, good-heartedness and sensuality that Tom must have. I also think Samantha Morton walks the line between showing Sophia's dutiful side and the explosive temper that she inherited from her father, Squire Western. It's a lot of fun.