Joseph Andrews

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.

"Joseph Andrews" would be just another comical period piece if it were not for the fantastic performace of Ann-Margret who's comical timing is never off once. Her accent is flawless and she looks terrific as always! A-M makes "Joseph Andrews" the classic it should be.

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.

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.

Funny, I never could get into Tom Jones. That it won Best Picture is a wonder to me. I just found it messy, badly filmed and edited and mostly incomprehensible. Joseph Andrews, however, is a different matter; I laughed heartily and found the whole thing to be what Tom Jones failed to be: a genuinely entertaining bawdy riot. How this film is so lowly rated mystifies me. Everything seems right, especially Ann Margaret who acts her skirt off (literally), and Peter Firth at least looks young and desirable, unlike Albert Finny who always looked too old to be romping around in the woods making a goose of himself. Such a shame this film isn't better known and more often shown.