FAR FROM THE MADDING CROWD (2015) – The Review

Now, here’s a great example of counter-programming. As of last Friday, with the return of Marvel’s superstar super-team, the onslaught of the big blockbuster, “check your mind at the door”, movie season officially began. But what about those cultured folks needing an oasis at the multiplex, a quiet escape from the movie mayhem. The colder temps generally welcome those more serious, somber films, often adapted from literary classics. However, a few of these often seep through the Summer season (LEE DANIELS’ THE BUTLER, THE HELP). That’s the case with this literary adaptation, but it’s also a reboot since there was a celebrated film version starring Julie Christie way back in 1967. Now, once again, from the classic tome written by Thomas Hardy (no, not next week’s “Mad Max”), here’s FAR FROM THE MADDING CROWD.

With the first fade-in, we meet the story’s heroine, Bathsheba Everdene (Carey Mulligan) on horseback, as she dashes through the 1870’s English countryside. Her striking visage catches the eye of simple farmer/shepherd Gabriel Oak (Matthias Schoenaerts). He soon learns that the lady has come there to help her family out at a nearby, more opulent farm. The two develop a casual friendship, until Bathsheba is stunned by Gabriel’s abrupt, unexpected proposal of marriage. She demurely declines and is surprised once more when she soon learns that another relative has died and left her a huge farm several miles away. Meanwhile Gabriel’s’ luck has gone the opposite direction as tragedy causes him to lose his home and property. As he heads toward a local village in search of work, he comes upon a farm threatened by a fire. After helping snuff the flames, Gabriel learns that this is the property of Bathsheba, who hires him as a supervisor. She’s also caught the attention of successful neighboring farm owner William Boldwood (Michael Sheen). The shy, much older bachelor also shocks her by proposing marriage (more of a merging of lands). As she considers this, Bathsheba meets Francis Troy (Tom Sturridge), a soldier who had recently been stood up at the altar by Fanny Robbin (Juno Temple). The handsome young Sargent sweeps Bathsheba off her feet, and soon they are wed. But it is not a happy union, and eventually the young woman soon wonders if she passed up her chance at happiness by rebuffing Boldwood. Or maybe that stoic Mr. Oak?

Mulligan makes a most understandable object of desire in the nineteenth century countryside with her large, piercing eyes and crimson mane of hair as she charges into life at full gallop. But her beauty belays a fierce determination. She won’t tolerate intimidation or condescension from her fellow land barons or her employees. This is particular evident when she dismisses her farm’s former foreman and later as she proves to be a formidable negotiator at the marketplace. This is one of Mulligan’s finest screen performances and she carries the film with great confidence. As for her trio of suitors, Schoenaerts make the strongest impression as the smouldering, plain-spoken Oak (sturdy like the tree, really). From the yearning in his eyes as he watches Bathsheba gallop past him, we know his destiny will be intertwined with hers. He’s quite eloquent, even as he stays silent while we wait for the sparks to fly once more ignited by his true passion. Sheen as Boldwood is a most endearing rival for Bathsheba. He’s also somewhat flustered by her, but continues to charm with his hesitant pursuit and sense of humor (he may have the funniest lines in the film). But Sheen also shows us his nearly hidden melancholy, as Boldwood believes that she may be his very last chance for happiness. As the fourth wheel, Sturridge is convincing as the pompous, preening poseur, who literally appears out of nowhere (deep in the forest) and upends Bathsheba’s life. He looks dashing in his military garb and swagger, but it seems improbable that this strong, independent woman could be so taken by him. She turns these two good men down for this peacock? Sturridge can’t elicit any empathy for him, no matter how many tears stream down his perfectly trimmed mustache. Unfortunately the talented Ms. Temple has little to do here as his dim-witted, tragic first fiancée.

The story glides along at a lesiurely pace thanks to the assured direction of Thomas Vinterberg, working from the screen adaptation by David Nicholls. The film could be tightened a bit, but this gives us more than ample time to drink in the gorgeous cinematography by Charlotte Bruus Christensen, augmented by Craig Armstrong’s lush score. The rolling green hills seem to go on forever, while all the interiors, from Oak’s spartan cottage to Boldwood’s opulent estate, also dazzle the eyes. Unfortunately the film adheres perhaps too slavishly to romantic formulas. Early on, we know who should be together. From there we’re just waiting for each new obstacle to be swept aside. But as far as lush, bodice-rippers go, they don’t come much more  beautiful or satisfying than FAR FROM THE MADDING CROWD.

4 Out of 5

FAR FROM THE MADDING CROWD opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas