Loin de la foule déchaînée

The book is a masterpiece, it's perhaps Hardy's most accessible book and one of his best, his way of words and vivid descriptions as well as the beautifully realised characters demonstrate that. Some may question whether he was on Bathsheba's side or not, not so to me.

Of the three versions seen of 'Far From the Madding Crowd', this 2015 film is my least favourite. This is not meant in a bad way, that it's still good with a lot to admire says a lot about how excellent the 1967 film (which holds up even better than when first reviewed five years ago, when much younger and with a less diverse taste in film and when less perceptive and more headstrong in how opinions were expressed) and the 1998 TV adaptation are. Those who love the book will find various aspects underwhelming, but taken as a film judged on its own two feet it's a worthy effort with many great things. Which is what makes it disappointing that it wasn't even better.

'Far From the Madding Crowd' (2015) is not perfect. It does feel too safe and more of a conventional period piece when there is much more to the story than that. The structure, basic details and the essence of most of the characters (excepting Troy) are all there and the romantic elements (more heavily emphasised here) is done incredibly well, but the depth is missing.

You can tell from seeing the previous adaptations regardless of whether you've read the book or not that the characters are not as complex, as said Troy is far more interesting than his treatment here. As is some of the rural colour like the lack of refinement for the locals and how they loved to gossip, near-jettisoned in favour of emphasising the romance more. 'Far From the Madding Crowd' is also a quite bold and at times idiosyncratic story, the previous two adaptations captured the boldness and wit more. The wit comes through in this adaptation certainly, the boldness doesn't.

Just as problematic is the writing and performance for Troy. As said more than once already, Troy is much more interesting in the source material than here and with more complexity. One, as said above, doesn't even need to have read 'Far From the Madding Crowd' to know if having viewed either of the previous two adaptations that Troy is more villainous than usual and is rather one-dimensional. Tom Sturridge didn't do it for me, the way the character is written does work against him but he never looked comfortable in the role and fails to bring out the rakishness, solider-like demeanour and charm (regarding the latter one does need to see what Bathsheba sees in him, that is a failing here). Occasionally the film is a tad rushed, especially in the stripped character development of the underdeveloped characters that are not the four leading ones.

However, 'Far From the Madding Crowd' looks ravishing. Especially in the cinematography that is even more radiant than Carey Mulligan's Bathsheba (the late harvest scene is indeed just one of the highlights), while the scenery and costumes are beautifully detailed and evocative in their meticulousness. While spare, a wise decision, Craig Armstrong's music score is every bit as good as the scores for the previous two adaptations, with every scene that it appears in beautifully scored and sensitively used. The rendezvous in the woodland is a masterful marriage of visuals, editing (also very much stunning in the film) music, acting and amorous atmosphere.

Even when adaptation-wise the film feels too on the safe side, the script still manages to be very literate and the wit and tragedy of the story come over amusingly and poignantly. The story is, despite the lack of depth, still compelling and the heavier emphasis on the romantic element registers so strongly that it makes one swoon. The romantic tension is done very well too. Won't talk about the feminist slant that has been mentioned at the risk of it causing controversy in later reviews, other than that perhaps it wasn't really needed.

Most of the characters come off well still. Bathsheba is particularly well-realised, one gets the sense of her being an ahead of her time unconventional character and because it's a long way from irrelevant today one can still relate. Thomas Vinterberg directs with a lot of spirit and, other than Sturridge, gets great performances from his heart.

Carey Mulligan is one of the standout components of 'Far From the Madding Crowd'. Her wonderful, hugely compelling performance captures Bathsheba's fiery free-spirit, affecting nuances faintly modern nature, beauty and eagerness, even when Bathsheba is prouder than one would expect and not as vain. Matthias Schoenaerts is a sensitive, integral and remarkably dignified Gabriel Oak, with brooding eyes and an expressive understated face. Another standout is Michael Sheen's Boldwood, Sheen devastates and Sheen brings many colours to the character that allows one to feel sorry for him.

In summary, admirable, gorgeously mounted, spirited, romantically swooning and very well acted, but too safe. 7/10 Bethany Cox

How do you solve a problem like Bathsheba Everdene? It's a question that has plagued literary enthusiasts since 1874, when Thomas Hardy first introduced her to the world in one of his classic novels, Far From The Madding Crowd. Today, 141 years later, that same question haunts Thomas Vinterberg's sumptuous, smart adaptation - one that tries valiantly, but doesn't wholly succeed, in celebrating the strength of a character that was always somewhat illusory to begin with.

In a time ruled and defined exclusively by men, Bathsheba Everdene (Carey Mulligan) stands apart as a free-spirited, independent young lass who refuses to bow to convention. When she inherits the farm belonging to her late uncle, she insists on running it herself - working in the fields and sacking the male workers who disrespect her authority. Small wonder, then, that Bathsheba draws the attention of three suitors, each one representing a different social class and a unique brand of manhood: stoic farmer Gabriel Oak (Matthias Schoenaerts); stern, serious-minded landowner William Boldwood (Michael Sheen); and sexy, emotionally scarred sergeant Francis Troy (Tom Sturridge).

The main problem with Hardy's novel, which is largely replicated in Vinterberg's faithful adaptation, is its awkward attitude towards its lead female character. To be sure, Hardy gives Bathsheba a modern voice that still rings true today: "It is difficult for a woman to define her feelings in a language chiefly made by men to express theirs," she declares. It's a line so delicious that screenwriter David Nicholls nicked it wholesale for the film. And yet, on a deeper reading of the novel, it becomes far harder to tell whether Hardy is celebrating Bathsheba's independence, or punishing her for it.

To their credit, Vinterberg and Nicholls do try a little harder to add a truly feminist bent to their version of Bathsheba's story. More care is taken to forge a genuine emotional connection between Bathsheba and Gabriel, even as her seduction of William Boldwood is made less purposeful. Bathsheba still finds herself approaching Sergeant Troy with lust rather than caution, but she does so in a more clear-eyed manner. In effect, Mulligan's Bathsheba seems bemused at and somewhat resigned to the sillier decisions she makes in her romantic pursuits.

The trouble is that, while these little changes do add up to a stronger character, they also result in thematic and tonal confusion. The truth of the matter is that Hardy was not always concerned with celebrating Bathsheba as a character in her own right - he was frequently more interested in commenting on the ideal romantic suitor, the kind of man to whom Bathsheba should give her heart. There's never any doubt, in Hardy's mind at least, what her choice should be. After a point, then, Vinterberg's film flounders because there is, truthfully, no real tension in the romantic dilemma that stares Bathsheba in the face.

It's a shame, because Vinterberg has brought Hardy's world to life with a very good cast indeed. Mulligan plays the fire and spirit of Bathsheba well, although she's trapped as much by the script as her character is by Hardy's words and ideas in the novel. As the sturdy Gabriel Oak (his surname says it all), Schoenaerts turns a rather dull but handy lump of a man into a semi-credible romantic prospect. The ever-reliable Sheen doesn't have quite enough screen-time, but nevertheless packs a great deal of depth and despair into the loss of William Boldwood's heart (and, perhaps, mind) to the charms of Ms. Everdene. There's almost more to be enjoyed in the semi-confessional scene shared by these two very different men as they sheepishly dance around their feelings for the same woman. Sturridge, meanwhile, is the relatively weaker link in the cast; his performance is fuelled more by his sexy moustache and saucy swordmanship than anything else.

At a point in time when female-led films are being discussed, dissected and celebrated more than ever before, Far From The Madding Crowd would - at least on the surface - appear to be part of this growing tradition. The filmmakers have certainly tried to create a version of Bathsheba Everdene that's unequivocally appealing to a modern audience. But it's an effort that, ultimately, doesn't quite work, since the point of Hardy's novel was arguably more about the man Bathsheba should marry, and less about Bathsheba herself.

This has always been one of my favourite books & films and I was keen to see what they did with this a second time around. But what I want to say after seeing it was 1/see the first film 2/read the book. One of the most essential points to film was left out altogether in that when Bathsheba sent her 'joke' valentine to Boldwood she wrote the words 'Marry Me' on it. It wasn't the roses-are-red etc that got Boldwood in a twist it was the two words she wrote on the card. We get no sense of the quandary and deliberating over this that went on within Boldwood for some time before he made his move (and his ultimate obsession) in this film as we do in the first.

I think the scene when Fanny got the wrong church was disappointing as well. There was no sense of the mad dash she had across town to find the right church and only to find Frank striding out full of indignation at being stood up and telling her "It's too late!" The beautiful words of Gabriel to Bathsheba "when I look up there ye will be and when you look up there I will be" just don't feature at all.

The "shooting at the end was tame to say the least & Martin Sheen was much less forceful in his insistence of marrying Bathsheba But I did like Carey Mulligan as Bathdheba. What was missing was the energy & drama the original film had and dare I say it some Wessex accents....

Based on Thomas Hardy's classic novel (which I much shamefully admit I have never read), Far From the Madding Crowd tells the tale of Bathsheba Everdene's rags-to-riches rise to become a farm-owner in rural Dorset in the 1870's, the title coming from the fact that Dorset is a long way from the hustle and bustle of London "200 miles away" as the opening title incorrectly declares - the longest direct driving route I could find was 155 miles!

Bathsheba is a magnet to men with her feisty and independent behaviour, and the film documents the "love square" between her and three men in her life: Gabriel Oak (Matthias Schoenaerts), the hunk of a farm manager; William Boldwood (Michael Sheen), the wealthy neighbouring landowner; and Sergeant Troy (Tom Sturridge), a dashing Han-Solo style rogue, flash-as-you-like in his scarlet army uniform.

In reviewing this film I need to declare a couple of loves.

Firstly, Dorset. Of all the English counties, this has to be one of the most glorious. Green rolling hills, dramatic coastline such as that at Golden Cap (featured in the film), quaint villages and – most importantly in this context – gorgeously photogenic. Hopefully, this might tempt more visitors to stop there rather than 'driving on through' to Devon and Cornwall for their holidays.

Secondly, and with apologies to the wife, Carey Mulligan. To be clear, this is not a sordid sexually-motivated affair (although there was THAT shower-scene in "Shame") but a deep love of her acting talents and screen presence. This is a love affair long in the making, beginning ten years ago with her startling presence in Bleak House at the age of 20 (looking much, much younger); her stunning minx-like Dr Who performance as Sally Sparrow in "Blink"; and on through her breakout movie performance in "An Education" in 2009.

Where Mulligan excels is in roles where she can play a strong, confident and independent woman, so the role of Bathsheba is perfect for her. She is utterly believable as the 1870's landowner holding her own against the men-folk, and even pulling off the somewhat out-of-character plot twist half-way through the film.

The supporting cast is also excellent. The ever-reliable Sheen ("The Queen"; "Frost/Nixon") delivers a heart-breaking performance as the love-lorn Boldwood; Schoenaerts (recently in "Suite Française") is manly enough with a scythe to no doubt set female hearts a flutter; and Sturridge is deliciously unpleasant in his powerful role.

Above all, this is just a crackingly good story, through David ("One Day") Nicholls's tight screenplay. If you decide to avoid this film because it is "old stuff", think again. The roller-coaster ride of the plot gives UK and US 'soaps' a good run for their money in the drama stakes, and the denouement is both surprising and satisfying.

Direction is by the relatively unknown (to me at least) Thomas Vinterberg ("The Hunt"), but big kudos needs to go to Vinterburg's collaborator Charlotte Bruus Christensen for the stunning cinematography: some of the scenes (notably the harvesting scene towards the end of the movie) are bucolically gorgeous.

Also worth noting is the soundtrack by the brilliant but sparingly used Craig Armstrong ("Love Actually", "The Great Gatsby") which is luscious and suits the film to a tee. The woodland rendezvous scene makes your hair stand on end and this is largely down to the music combined with Claire Simpson's excellent editing.

I struggle to find aspects to criticise. I was gripped, and suitably shocked at the right moments, which is just what you want for a good night out at the movies. Having already praised the cinematography, one gripe I would have is with the lens flare at the end of the film (natural this time, rather than of the JJ Abrams variety) which was annoyingly distracting to me in the closing scene: but I recognise this is a personal complaint that I might be alone in.

Just a word of warning as well for animal lovers: that despite it being a UK 12A certificate, there are some pretty torrid scenes with sheep and a dog that might upset sensitive viewers - perhaps it should have been given a "Ewe" certificate (that joke will only work for UK readers!).

In summary, this is a treat for a more elderly audience, but should be a must see for audiences of all ages as a rollicking good tale, well told and beautifully shot.

(If you enjoyed this review, please see the multi-media version at bob-the-movie-man.com and enter your email address to receive future reviews. Thanks.)

This film, by the Danish director Thomas Vinterberg, is the first cinematic adaptation of Thomas Hardy's "Far from the Madding Crowd" since John Schlesinger's famous version in 1967. The story is too well- known for me to set out the plot at any length, but it revolves around the adventures of Bathsheba Everdene, a young female landowner in Victorian Dorset, and the three men who love her. These are Gabriel Oak, a humble shepherd, William Boldwood, a neighbouring farmer, and Frank Troy, a sergeant in a cavalry regiment.

Vinterberg has set himself a difficult task. Schlesinger's film was a landmark of British cinema, marking the beginning of what I have come to think of the "heritage cinema" style of film-making. In my eyes at least, and I suspect in the eyes of many others, it has become the definitive version; I cannot re-read the novel- it is a favourite of mine and I have read it several times- without picturing Bathsheba as Julie Christie, Gabriel as Alan Bates, Troy as Terence Stamp or Boldwood as Peter Finch.

Like Schlesinger, Vinterberg sticks fairly closely to Hardy's story, although of necessity some minor episodes have had to be omitted. There were one or two touches I didn't really care for, such as the scene where Troy grabs Bathsheba by the crotch. In the novel Hardy describes Troy's seduction of the young woman with great delicacy. This is not just a question of Victorian prudery, but also of psychological realism. A girl as independent and determined as Bathsheba would have resented such a crude approach; had Troy attempted it he would doubtless have got his face slapped for his pains. I also felt that this version rather inflated the social status of both Bathsheba and Boldwood. In the novel both are prosperous farmers, but nothing more. Here they live in the sort of style which would suggest she is the Lady of the Manor and he a wealthy aristocrat.

Hardy's novel is, among other things, a celebration of the English countryside, and this aspect is brought out well here. Like Schlesinger's, the film is visually attractive with some striking photography of the rural landscapes, often seen bathed in a soft, golden glow. On the acting side I was most impressed by Matthias Schoenaerts as Gabriel. His interpretation is rather different from Bates's, making his character perhaps more genteel and less rough-hewn, but still a man of great sensitivity and integrity. The Belgian-born Schoenaerts speaks flawless English with no hint of a foreign inflection, although it is noticeable that, unlike Bates, he does not attempt a West Country accent. Possibly wisely- English regional accents can be notoriously difficult for foreign-born actors.

On the other hand, I was less impressed by Tom Sturridge who makes an unmemorable Troy, lacking the roguishness and devil-may-care charm which Stamp brought to the role. Michael Sheen is better as Boldwood, but never quite matches Finch's desperate, nervous intensity. The difference, perhaps, is that Sheen's Boldwood is obsessed by Bathsheba whereas Finch's is almost literally possessed by her. Carey Mulligan has plenty of experience in films of this type, having inherited the crown formerly worn by Helena Bonham-Carter and Keira Knightley, that of Reigning Queen of Period Drama. She has been praised for her performance here, but personally I preferred Christie's rather more imperious and headstrong interpretation. Vinterberg's film is a generally solid, well- made piece of period drama, but for me it will not replace Schlesinger's as the definitive version. 7/10