Longe Deste Insensato Mundo

The cast and the fact that I love the book(possibly my personal favourite of Thomas Hardy's work) were what drove me into seeing this Far From the Madding Crowd. And I personally really liked it, though I can see why people might not. It does have a couple of cliché moments and the film is overlong. On the other hand, the film looks gorgeous, the scenery is evocative and the cinematography positively shimmers. The music is hauntingly beautiful, the script is literate and thoughtful and the complex story unfolds slowly and deliberately, is faithful in detail and spirit to the book(in the film's favour rather than against it) and several scenes such as the scene in the graveyard have their impact. The direction from John Schlesinger is fine, I can see where some are coming from when they say his personality doesn't come through as it does in his other work but considering how different the story and his directing style is that's understandable, while the characters still have credibility and complexity if even more so in the book. Julie Christie is an affecting and spirited Bathsheba, Terence Stamp is appropriately soldierly and crusty, Alan Bates does down-to-earth very effectively and Peter Finch devastates as the tragic Boldwood. In conclusion, maybe not for everybody but I really liked it for mainly the cast, visuals and music. 8/10 Bethany Cox

I have watched this film many tens of times and never tire of its beauty. Each viewing has me finding it even more beautiful than on the previous occasion – it may seem slow to first-time viewers but they should make the effort to watch the thing a few more times !!!

This film is without any doubt that which perfectly renders the atmosphere of Thomas Hardy's Wessex ! The careful filming, lighting and attention to the changing moods of the Dorset countryside is absolutely PERFECT, and the music is perfectly suited to the atmosphere ! This Film has just been issued on DVD in the UK but I was very disappointed to find that little or no remastering of the picture had been carried out and that, although the picture quality is reasonable for the time, I had been expecting the full treatment for a work of art such as this to get rid of remaining compression artefacts, spots, grain etc.! Also there are no subtitles for the deaf, and no subtitles or languages for foreign viewers (inadmissible !!) nor special features which you would expect for such a great work of art as this. Other films of Thomas Hardy country, such as Tess and others, pale into insignificance beside this one though it must be said that Tess, although taking place in Dorset was actually filmed in Normandy ( Cherbourg Peninsula) which would explain why the atmosphere wasn't the same.

Each scene of this film has remained indelible in my mind, the sheep being pushed over the cliff by the mad sheepdog, the corn market ( actually filmed in Devizes, Wiltshire ), the water flowing down Gold Hill in Shaftesbury, Dorset where poor young Fanny Robbins painfully seeking to mount during her last few hours on earth, the cock-fight, the beautiful views of the Dorset Coast with Durdle Door and the chalk cliffs, the romantic dalliance of Troy and Bathsheba doubtlessly filmed in one of those prehistoric burial mounds so common in Wiltshire. Truly, 'tis one of the most beautiful areas on earth. When I was at university in Bath, Avon, U.K. during the seventies, I made a point of visiting the Thomas Hardy country, and in particular the sites used in this film, as it was not too far away. I found a sense of timelessness there and the area has to be visited to 'feel' the atmosphere that the film exudes !

Above and beyond the magnificent sets and music, we have the actors' performance, which I seem to appreciate even more on each successive viewing of the film. Each character is very well developed and the performances are masterly even those of the minor characters. There is also a significant number of traditional songs of the day which are sung most convincingly by the actors. There is something quintessentially English about this film not to be found anywhere else, for this reason alone it should not be missed. I can only hope that one it will be remastered for picture and soundtrack and will then be truly appreciated on a home cinema.

"Far from the Madding Crowd" is one of a handful of elegantly produced, intelligent wide screen masterpieces which have sadly been neglected by those responsible for DVD. Fortunately, by early in 2009, Warner Brothers finally released it on a handsomely remastered standard DVD edition. There is no news of a Blu Ray version. It is richly scenic in an unusually stark, atmospheric way. Its cast is made up of some of the finest actors working at the time it was made. All of them handle their parts in this well-written, literate script, extremely well. Peter Finch, who seldom turned in a weak performance, is a standout in this film.

The great works of literary giants like Thomas Hardy invariably inspire strong opinions about film adaptations. It is no surprise to me that some reviewers were very critical of Far From the Madding Crowd, based on their feelings that it distorted aspects of the original novel. Despite such interpretive choices, or modifications as may be at play in this dramatization, the rewards of its many great strengths, in my opinion, make it a glorious viewing experience.

If you are a home theater buff with the technology needed to view this film on a fairly large screen, you will delight in its evocative wide screen splendor. It draws you into the very unique environment that was always so important in Thomas Hardy's writing. I am thrilled that such thoughtful epics as "Tess" and "Lord Jim" are all, at last, available in DVD release. "Far from the Madding Crowd" and David Lean's "Ryan's Daughter" are among those long awaited widescreen home entertainment selections which constitute the sublime highlights of any film library. They are visual masterpieces that cry out to be seen in such a high-resolution format as the DVD provides.

In this sprawling adaptation of the Hardy novel, a beautiful woman in 19th century English countryside must select a suitor among three men. It has become fashionable to bash this film but it is quite an impressive production. Although she may not be exactly what Hardy had in mind, Christie is radiant as the heroine. The men pursuing her are well played by Finch as a rich landowner, Stamp as a cad, and especially Bates as a poor sheep farmer. Schlesinger's direction is leisurely and meticulous but he sustains interest despite the nearly three-hour length. The cinematography by Roeg is breathtaking and Bennett's score adds a haunting quality to the film.

I have never read a good word about this film in any movie guide, which frankly baffles me. I think it's a masterpiece, and despite Hardy being one of my favourite authors, I think this is actually better than the novel. It also contains two absolutely perfect moments. But first some general comments. The photography is gorgeous, actually looking more realistic than idyllic, beautiful but sometimes cold and forboding, brooding over the tragic proceedings. Secondly, the remarkable soundtrack by Richard Rodney Bennett lends the movie a good deal of its emotiveness. The use of English folk songs to comment on the proceedings is ingenious, sometimes impressively reflective of the situations, and at points extremely unsettling.

Julie Christie is beautiful and I found her Bathsheba the precise mixture of headstrong independence and vulnerability. Terence Stamp's repulsive Troy is a triumph of casting and Alan Bates is wonderful as the simpliest of her suitors. The film is stolen for me though by Peter Finch, who begins a hat trick of devastating performances, here, in The Trials of Oscar Wilde and Sunday Bloody Sunday. His Boldwood is a remarkable creation, so eligible, so tragic, so lost and helpless. His scene with Bathsheba when she suggests Christmas to be a time when she will make a decision on their future is heartbreaking. "Christmas," he smiles. "I'm happier now." But the scene that should surely secure this movie a place in film history is that in the graveyard. Without spoling the plot for those who have yet to see it, the gargoyle spewing rainwater over the graves as the sound of "The Bold Grenadier" plays is as affecting an image as one is ever likely to see on screen. The Boldwood plot has a darker outcome here than in the book, which I'm sure Hardy would have approved of. This is a beautiful and disturbing movie that does not shy away from Hardy's bleak view of existence, and adds to the mix a strong sense of gritty 60s honesty. Beautiful, devastating and unforgettable.