Copyright 18 October 1967 by Vic Films/Appia Films/Joseph Janni Productions. New York opening at the Capitol: 18 October 1967. U.S. release: September 1967. U.K. general release: 27 October 1968 (sic). Australian release: 22 February 1968. Original running time: 175 minutes. In the U.S. the running time was reduced firstly to 169 minutes for premiere engagements, then to 143 minutes for second- runs at "popular prices". The U.K. general release version clocked in at 168 minutes.
COMMENT: I am not a fan of director John Schlesinger who delighted critics with such films as "A Kind of Loving" (1962), "Billy Liar" (1963), "Darling: (1965), "Midnight Cowboy" (1969), and "Sunday, Bloody Sunday: (1972). The only one of these movies I found even modestly entertaining was "Billy Liar". Schlesinger no doubt would place himself firmly in the contemporary realism-at-all-costs school. So "Far From the Madding Crowd" is for him, something of an exception. A period romantic drama, which he has brought vividly, vibrantly and realistically to life, abetted by a fine cast and brilliant technicians.
A no-expense-spared movie, this Hardy adaptation gains more than it stood to lose by what was touted as Schlesinger's uncompromisingly realistic approach. In point of fact, the director has yielded to some of the Romanticism inherent in the novel. This is good, because the picture now has a perfect balance between the Realistic and the Romantic.
Julie Christie's portrayal also comes as something of a pleasant surprise. She is astonishingly effective as a Romantic heroine. I would class this Bathsheba as her most memorable performance. Although she rightly dominates the film, she receives brilliant support from Alan Bates and Terence Stamp. Our own Peter Finch is more than merely adequate, though he does seem a bit uncomfortable. Whereas the other players wear their period clothes as if to the raiment born, Finch seems to me slightly miscast. But this is just a personal impression. I'm relying on memory, because of course the film hasn't been seen for thirty years. It is certainly overdue for a revival and re- assessment.
Nick Roeg's brilliantly evocative cinematography was rightly praised by contemporary critics, who also singled out the marvelous sets and costumes, as well as Richard Rodney Bennett's wonderful score, with its inspired use of provincial folk songs.
COMMENT: I am not a fan of director John Schlesinger who delighted critics with such films as "A Kind of Loving" (1962), "Billy Liar" (1963), "Darling: (1965), "Midnight Cowboy" (1969), and "Sunday, Bloody Sunday: (1972). The only one of these movies I found even modestly entertaining was "Billy Liar". Schlesinger no doubt would place himself firmly in the contemporary realism-at-all-costs school. So "Far From the Madding Crowd" is for him, something of an exception. A period romantic drama, which he has brought vividly, vibrantly and realistically to life, abetted by a fine cast and brilliant technicians.
A no-expense-spared movie, this Hardy adaptation gains more than it stood to lose by what was touted as Schlesinger's uncompromisingly realistic approach. In point of fact, the director has yielded to some of the Romanticism inherent in the novel. This is good, because the picture now has a perfect balance between the Realistic and the Romantic.
Julie Christie's portrayal also comes as something of a pleasant surprise. She is astonishingly effective as a Romantic heroine. I would class this Bathsheba as her most memorable performance. Although she rightly dominates the film, she receives brilliant support from Alan Bates and Terence Stamp. Our own Peter Finch is more than merely adequate, though he does seem a bit uncomfortable. Whereas the other players wear their period clothes as if to the raiment born, Finch seems to me slightly miscast. But this is just a personal impression. I'm relying on memory, because of course the film hasn't been seen for thirty years. It is certainly overdue for a revival and re- assessment.
Nick Roeg's brilliantly evocative cinematography was rightly praised by contemporary critics, who also singled out the marvelous sets and costumes, as well as Richard Rodney Bennett's wonderful score, with its inspired use of provincial folk songs.