It feels a little bit strange to have an adaptation of
classic romance novel Far From The
Madding Crowd be made for modern audiences considering how far gender
politics have come since the Victorian era.
Ostensibly a film about a woman trying to decide between three potential
suitors and ultimately choosing the one who has acted as a companion to her for
many years, through a modern progressive lens this seems to be the tale of a
man who got rejected by a woman but chose to stick around as she moved from
relationship to relationship, chilling in the friend zone while he waits for her
to make the “right” choice. Sure,
there’s something to be said about this story being from a certain era and one
must take it as such, but a film adaptation of such a work is made for a modern
audience, and those thematic issues have only become more obvious in the
intervening 140 years.
However, that being said, this is the type of film that will
draw fans of the book regardless of my criticisms of the story itself. No, this is the type of film where people go
to see good acting and pretty costumes, and, like any good BBC production
(which co-produced with Fox Searchlight), Madding
Crowd delivers. Carrey Mulligan
steals the show as Bathsheba Everdeen, as she certainly knows how to handle a
close-up whether she’s teary-eyed, determined, or attempting to keep her
emotions in check. The rest of the cast
fares well too, with the notable exception of Tom Sturridge as suitor Frank
Troy. Sturridge gives Frank such a flat
affect that it’s hard to tell whether this was an attempt at making the abusing
character more menacing or just laziness on Sturridge’s part. Either way, it doesn’t work.
Ultimately, though, the film doesn’t work for one main
reason: it doesn’t really try to. Like I
said, the acting is good and the costuming is elegant, but the whole film feels
like it was shot with the efficiency of a weekly television show or a
low-budget miniseries. There’s rarely
anything interesting to look at except for the close-ups of the characters’
faces, but that begins to wear thin as one begins to lose interest in even the
historical setting. Director Thomas
Vinterberg seems to have directed this thing on auto-pilot, or at least didn’t
seem to care whether his cinematographer was even awake.
Fans of the book will probably like this film regardless of
anything I may say for the simple reason that it brings the novel to life. I haven’t read the book, so I can’t really
speak to comparison, though I did find that the third act felt rushed and
cluttered with a number of plot twists that seem to come out of nowhere. But if you aren’t a fan of the Thomas Hardy
novel, I don’t think I can really recommend the adaptation, as it is a dull,
by-the-numbers affair that doesn’t seem to be interested in being much more
than a faithful retelling.
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