The 1960s film version of Thomas Hardy’s classic tale was recently re-released ahead of this version with a clear message; this new take on the story had better be near-perfect, or by comparison it will be buried. This version certainly takes some risks, especially a non-English director and the use of a Belgian actor in the crucial role of Gabriel Oak, which was so well played by Alan Bates in the original. It also doesn’t have Nic Roeg as cinematographer, the man who not only brilliantly put Hardy’s characters and landscape on the screen but directed the pivotal sword seduction scene.
So is it a success?
Well, taken on its own terms, it is. The photography is lush, although it lacks the muddy gloom of Roeg’s work, but it’s still a fine-looking film. The performances are good, although pretty much all of them come second to the original, apart from Michael Sheen’s superb turn as Boldwood, which is at least a match for Peter Firth’s original. Both capture Boldwood’s desperate twitchiness and sad yearning for Bathsheba. The only complaint here is that Sheen isn’t in it enough, it’s more of a cameo than a fully rounded role. Carey Mulligan is no Julie Christie, but she’s game, Matthias Schoenaerts seems to be concentrating too much on getting his accent right to remember to act, while Tom Sturridge struggles in the role of Troy – he’s feckless but looks like a member of a boy band, and his tragic relationship with Fanny is underpowered.
Thomas Vinterberg omits several key scenes, such as the aftermath of Sergeant Troy’s disastrous abandoned wedding to Fanny, and later his discovery working as a fairground attraction, but in the main his telling of the story works. Bathsheba’s trio of suitors are all magnificently pained, she is suitably flighty and seems to have little idea of the effect she is having on these three lonely men.
The big set pieces are all present and correct too Oak’s saving of Bathsheba’s bacon three times, Troy’s seduction of her with his sword, Fanny’s tragic death in a poorhouse, Boldwood’s setting up of a huge Christmas party which is to end in violence. It reveals Hardy’s tale as something of a potboiler and, despite all the death and misery, pretty optimistic for him.
Overall verdict: A fine addition to the collection of Thomas Hardy films which, while never quite throwing off the shadow of the 1960s version, may find its audience with students and the younger generation just discovering his books. It’s also a cracking tale and keeps up the pace throughout.
Reviewer: Mike Martin