It’s heartening to see John Schlesinger’s 1967 film of Far From the Madding Crowd getting a well-deserved reappraisal, with some fairly glowing reviews for the restored version released in cinemas this Spring:
“One of the most entrancing and elemental landscape films ever shot in these isles, thanks in large part to Nicolas Roeg’s peerless cinematography and Schlesinger’s decision to cram the soundtrack with folk songs and country dances.”
“What is striking, almost 50 years on from when it was made, is its extraordinary craftsmanship and its emotional intensity… This is not one of those handsomely mounted but stilted period dramas that is stifled by the fussiness of the costume and production design… Schlesinger’s film has a raw, elemental charge. It manages to portray rustic life without seeming quaint.”
“The Hardy adaptation that really captured the scale, beauty and menace of the landscape, and all its colours and moods.”
“Christie carries the film with her own insouciant vulnerability. A classic.”
“Quality oozes from every pore.”
“Splendidly lusty fare, its feet deep in the mud of the English countryside, its head in the lens-flared glare of a dreamy tragi-romantic sky.”
Not so long ago critics would dismiss the film as swinging-sixties style tacked onto Hardy’s Wessex – to the casual observer, perhaps not unfairly. The popular notion was that The Kinks had name-checked Terence Stamp and Julie Christie in ‘Waterloo Sunset’ in the year of release (something Ray Davies denied: “It was a fantasy about my sister going off with her boyfriend to a new world”).
Filmed in Dorset in the autumn and winter of 1966-1967, it’s not surprising Schlesinger’s film didn’t translate well to a Hollywood expecting a Dr Zhivago epic. After all, Schlesinger wanted to “dig out the dark spiritual side of Hardy… with verisimilitude”. As any Hardy aficionado will appreciate, this could be tantamount to setting your picnic in a crypt.
The restoration has been supervised by its cinematographer Nicholas Roeg (who in 1967 was yet to be the lauded director). At nearly three hours, it does demand a little of the viewer, but it’s a truly beautiful film, with a lush Oscar-nominated score from Richard Rodney Bennett, and the superlative casting of Alan Bates, Peter Finch, Julie Christie and Terence Stamp.
Perhaps its renewed appeal owes something to Schlesinger unearthing the landscape of a Victorian past in 1967, to clash with the hipster faces of Britain’s gentle, modish revolution. You could say Schlesinger’s film is now an uncontrived landmark, part of a timeline that tracks how we’ve looked to the landscape for authenticity: whether then, in the face of a ubiquitous ‘sixties scene’, or now, in the face of rampant capitalism.
And contradictions of style and substance – are they not the very heart of Bathsheba’s dilemma?
Released throughout the UK – see here for screenings.
Below: things to be grateful for in 2015 include the film now getting the poster it deserves (above), and not this excrescence from 1967: