FAR FROM OF THE MADDING CROWD

UK, 2015, 119 minutes, Colour.
Carey Mulligan, Matthias Schoenaerts, Michael Sheen, Tom Sturridge, Juno Temple, Jessica Barden.
Directed by Thomas Vinterberg.

Over the last 50 years, the novels of 19th-century author, Thomas Hardy, have been popular sources for many films. A memorable film from 1967 was made of his novel, Far from the Madding Crowd, with Julie Christie, Peter Finch, Alan Bates, Terence Stamp. There have been versions of his Tess of the D’ Urbevilles, including Roman Polanski’s Tess, of Jude the Obscure, of The Woodlanders and The Return of the Native, and a version of The Mayor of Castor Bridge, The Claim.

Now comes another version of Far from the Madding Crowd, a very satisfying version in itself.

The setting is Dorset 1870, a village, the fields and cliffs near the sea, small farms, barns and mansions, the local town and markets. While the photography is quite striking, the locations are not presented merely as touristic scenery but part of the plot and the development of the plot.

Hardy’s novels have very strong heroines, with the spirit of independence that often transcended their times. This is true Bathsheba Everdene, a young woman who inherits a farm, decides to manage it herself, is full of energy, not hesitating to get out with the sheep or bringing in crops. Carey Mulligan offers a strong and emotional performance. She has encountered an upstanding farmer, symbolically called Gabriel Oak, the shepherd experiencing tragedy when his sheepdog loosens the fences and drives the flock over a cliff. Bathsheba employs him. He is devoted to her and has proposed but has been rejected. Bathsheba cannot see herself as married.

And Gabriel Oak (Matthias Schoenaets) is not the only suitor. A local landowner, Mr Boldwood (Michael Sheen), a rather solitary man, also proposes, thinking he has a chance because of a thoughtless Valentine’s Day prank that Bathsheba had played. And then there is the dashing soldier, Frank Troy (Tom Sturridge), who has been infatuated with one of the workers on the property, Fanny Robin, but has given up on her when she did not turn up at the church for the wedding (she had mistaken the name of the church). Bathsheba, despite her attitude towards suitors and her strong control of herself, becomes infatuated with the soldier with dire results.

The film immerses its audience in the life of this England, the hard work, the seasons, the socials.

And, all the time, there is Gabriel Oak, working hard, supporting Bathsheba, listening to her, and quietly regretful that she does not love him in return.

There has to be a climax. Mr Boldwood asks Bathsheba to reconsider, comes out of his shell to organise a Christmas celebration, detailed in its preparations, inviting everyone and hoping that Bathsheba will accept his proposal. There is an unexpected turn of events, which becomes highly melodramatic, Mr Boldwood going into action that he never dreamt he would. Gabriel, still supportive, realising that he has no future in Dorset, tells Bathsheba that he has decided to migrate to America.

There is something grim about the writings of Thomas Hardy, something of a hardness in his presentation of human nature, in emotional conflicts. And his heroines are strong women who suffer.

Far from the Madding Crowd is definitely in this vein, but with more glimmers of hope than in other novels. Danish director, Thomas Vinterberg who had made rather austere films early in his career but was able to interpret British stories with insight and skill, including his film version of Jonn Le Carre’s Tinker, Tailor, Soldier, Spy, has made a very persuasive version of Far from the Madding Crowd.

1. The world of Thomas Hardy? Dorset? The 1870s? The Victorian era? Rural England? Farms, markets and towns?

2. The title, Dorset, for Bathsheba, her life? Memories of the 1967 version?

3. The locations, the use – for beauty, but for establishing mood and developing the plot? The land, the sea? Farms, towns, the mansion, markets? The musical score?

4. Bathsheba Everdene’s story? 19th-century woman, in the 1870s, English society, women and their place, her independence, their expectations for marriage and submission to men? Her life, with her aunt, on the farm, hard work, friendship with Gabriel Oak, as shepherd, riding past, losing her scarf and his returning it, the gift of the lamb? His proposal, the possibilities, her rejection? Her uncle’s death, the inheritance? Her meeting with the staff, with those who worked on the farm, her speech, payment, dismissing the bailiff because of his irresponsibility? Her hands-on work, the request to Gabriel after the loss of his sheep, her friendship with him, confiding in him, yet the tension in the relationship? Watching him with a sheep, getting into the water, sharing the work? Her moodiness, wanting independence, Mr Boldwood as neighbour, his visits, the proposal, her needing time to think, not wanting to marry him? The sending of the Valentine and her later being ashamed, apologising? Gabriel’s comment and his reprimand? Going to the market, selling the crops, Mr Boldwood watching, the farmers and wariness about a woman, her customers? With Liddy, at home, her work, companionship, a confidante? Her seeing Frank Troy, the military, the attraction, his response, charm? The outings, the dancing, the relationship, marrying him, the celebration, Gabriel and the storm, her going out, covering the crops and saving them? Troy, the episode of his swordsmanship, her standing firm? Symbolic? His gambling, fickle? Fanny dying, the previous comment on her running away? Her death, the coffin, the baby? The news of Frank Troy drowning, his clothes? Mr Boldwood’s party, his return, wanting money? The threat, Mr Boldwood then shooting? Gabriel and his decision to go to America? Her following him, their talk, love, her asking him to propose again, the acceptance? Shared future?

5. Gabriel Oak, a solid man, strong character, skill in farming, with the sheep, the gift of the lamb for Bathsheba? The dog, the noise in the night, freeing the sheep, the rush to the Cliff, going over the cliff, Gabriel walking along the beach, his stoic acceptance of his misfortune? Leaving, on the road, seeking jobs? Bathsheba inviting him to work on her farm, the changed situation? His diligence, with the workers, talking with Bathsheba and his feelings? Saving the crops? His reaction to Frank Troy? To Mr Boldwood? The climax with the Boldwood shooting, his decision to go to America, Bathsheba pursuing him? Future?

6. Mr Boldwood, his situation, farmer, gentlemen, at the market? Solitaryr man? The Valentine, its effect, his venturing to propose, Bathsheba and her apology? His visiting again, confiding in Gabriel? Arranging the party, the details of the preparations, his hosting, the arrival of Troy, his shooting him, the glimpse of prison? A lenient sentence, crime of passion?

7. Troy, the military, the scarlet coat, with the other men, Fanny in the crowd, his love for her? Waiting at the church, eventually leaving, the glimpses of Fanny, searching for the church, the wrong church? His leaving, seeing Bathsheba, the attraction, the marriage, the celebration, his drinking, ignoring the storm? The importance of this swordplay sequence and its implications? Idle, gambling, races? Meeting Fanny again, the plan, his waiting at the bridge, her going to the house, collapse, her death, the coffin, Fanny and the child? Upset, hurting Bathsheba, going into the ocean, swimming? the irony of his reappearance, wanting money, his spurning of Bathsheba, his being shot?

8. Liddy, her role as companion, confidante?

9. The farmers, their life and work, the formal picture of them and their clothes in the fields, men and women?

10. The audience being immersed in Dorset life, the 1870s, and sharing Bathsheba’s life, decisions?