Wednesday, July 26, 2017



To my knowledge, there have been five adaptations of Thomas Hardy's 1874 novel, "Far From the Madding Crowd". One of them is even a modern day adaptation. I have not seen this modern version of Hardy's novel. But I have seen at least three adaptations, including the 1967 version directed by John Schlesinger. 

"FAR FROM THE MADDING CROWD" - at least the 1967 version - has been highly regarded by critics, moviegoers and fans of Hardy's novel for nearly five decades. It is the adaptation that other ones have been measured against . . . much to their detriment. "FAR FROM THE MADDING CROWD" was a different direction for Schlesinger. It would prove to be the first of five period productions directed by him. Schlesinger and screenwriter Frederic Raphael stuck as closely to Hardy's novel as they possibly could. The movie was not a hundred percent adaptation of Hardy's novel, but it was pretty close.

Anyone familiar with Hardy's novel know the tale. It begins with a young 19th century Englishwoman named Bathsheba Everdene, living on a farm with her aunt, Mrs. Hurst. She meets Gabriel Oak, a former shepherd who has leased and stocked a sheep farm. Gabriel falls in love with Bathsheba and eventually proposes marriage. Although she likes Gabriel, Bathsheba values her independence too much and rejects his marriage proposal. Gabriel's fortunes take a worse for turn, when his inexperienced sheep dog drives his flock of sheep over a cliff, bankrupting him. Bathsheba, on the other hand, inherits her uncle's prosperous estate. Their paths crosses again, and she ends up hiring Gabriel as her new shepherd. 

Bathsheba has also become acquainted with her new neighbor, the wealthy farmer John Boldwood, who becomes romantically obsessed with her after she sends him a Valentine's Day card as a joke. He sets about wooing her in a persistent manner that she finds difficult to ignore. But just as Bathsheba is about to consider Mr. Boldwood as a potential husband, Sergeant Frank Troy enters her life and she becomes infatuated with him. Frank was set to marry one of Bathsheba's former servants, a young woman named Fanny Robin. Unfortunately, the latter showed up at the wrong church for the wedding and an angry and humiliated Frank called off the wedding. Bathsheba finds herself in the middle of a rather unpleasant love triangle between Boldwood and Frank, while Gabriel can only watch helplessly as the situation develops into tragedy.

"FAR FROM THE MADDING CROWD" is a beautiful movie to behold . . . visually. One can credit the movie's sweeping and colorful look to its iconic cinematographer Nicolas Roeg. Thanks to the latter, the English counties of Wiltshire and Dorset never looked lovelier. Not surprisingly, Roeg earned a BAFTA nomination for his work. The movie also benefited from Richard Macdonald's production designs, which did an excellent job in recreating rural England in the mid 19th century. This was especially apparent in those scenes that featured Gabriel's arrival at Shottwood, and his attempts to get hired as a bailiff or a shepherd at a hiring fair; the harvest meal at the Everdene farm; Bathsheba's meeting with Frank in Bath; the rural fair attended by Bathsheba and Mr. Boldwood; and the Christmas party held by Mr. Boldwood. I will not pretend that I found Richard Rodney Bennett's score particularly memorable. But I must admit that it blended well with the movie's plot and Schlesinger's direction. I also noticed that Bennett added traditional English folk songs in various scenes throughout the movie.

I have seen at least two movie versions and one television adaptation of Hardy's novel. And it occurred to me that the main reason why I ended up enjoying all three adaptations so much is that I really liked Hardy's tale. I really do. More importantly, all three adaptations, including this 1967 movie, did an excellent job in capturing the novel's spirit. With a running time of 169 minutes, "FAR FROM THE MADDING CROWD" took its time in conveying Hardy's story . . . with a few little shortcuts. And thanks to Schlesinger's direction and Raphael's screenplay, the movie not only recaptured both the idyllic nature of 19th century rural England, but also its harsh realities. More importantly, the movie brought alive to the screen, Hardy's complex characters and romances. Hollywood once made a movie about a woman torn between three men in 1941's "TOM, DICK, AND HARRY" with Ginger Rogers. But the complexity between the one woman and the three men was nothing in compare to this tale. Especially, when the leading lady is such a complex and ambiguous character like Bathsheba Everdene. Another aspect of "FAR FROM THE MADDING CROWD" that I enjoyed were the interactions between the movie's leads and the supporting cast who portrayed Bathsheba's employees. Like her relationships with Gabriel, Frank and Mr. Boldwood; the leading lady's relationships with her employees - especially the women who worked inside her home - proved to be very interesting.

There was a good deal of controversy when Julie Christie was announced as the actress to portray Bathsheba Everdene. Apparently, the media did not consider her capable of portraying the tumultuous mid-Victorian maiden . . . or any other period character. Well, she proved them wrong. Christie gave a very skillful and nuanced performance as the ambiguous Bathsheba, capturing the character's passion, vanity and at times, insecurity. Terence Stamp was another actor more associated with the Swinging Sixties scene in London, but unlike Christie, his casting did not generate any controversy. I might as well place my cards on the table. I think Stamp proved to be the best Frank Troy I have seen on screen, despite the first-rate performances of the other two actors I have seen in role. He really did an excellent job in re-creating Frank's charm, roguishness and unstable nature. Thanks to Stamp's performance, I can see why Schlesinger became so fascinated with the character.

Despite Christie and Stamp's popularity with moviegoers, the two actors who walked away with nominations and an award were Peter Finch and Alan Bates. No matter how interesting all of the other characters were, I personally found the William Boldwood character to be the most fascinating one in Hardy's tale. And Peter Finch, who won the National Board of Review Award for Best Actor did a superb job in bringing the character to life. Finch beautifully re-captured the nuances of a character that I not only found sympathetic, but also a bit frightening at times. Alan Bates earned a Golden Globe nomination for his portrayal of the stalwart Gabriel Oak, which I believe he fully deserved. I think portraying such a minimalist character like Gabriel must be quite difficult for any actor. He is a character that required real skill and subtlety. Bates certainly did the job. The actor managed to convey the passion that Gabriel harbored for Bathsheba without any theatrical acting and at the same time, convey the character's introverted and sensible nature. The movie also benefited from some skillful and solid work from its supporting cast that included Golden Globe nominee Prunella Ransome, who portrayed the tragic Fanny Robin; Fiona Walker (from 1972's "EMMA"); Alison Leggatt; John Barrett; and iconic character actor, Freddie Jones.

As much as I enjoyed "FAR FROM THE MADDING CROWD", there were some aspects of the production that I found troublesome. Earlier, I had pointed out that Schlesinger had seemed so fascinated by the Frank Troy character. And while this contributed to Terence Stamp's presence in the movie, Schlesinger's handling of the character threatened to overshadow the entire movie. Quite frankly, he seemed a bit too obsessed with Frank for my tastes. This heavy emphasis on Frank - especially in two-thirds of the movie - also seemed to overshadow Bathsheba's relationship with Gabriel Oak. At one point, I found myself wondering what happened to the character. Worse, the chemistry between Julie Christie and Alan Bates had somewhat dissipated by the movie's last act to the point that it barely seemed to exist by the end of the movie. And Schlesinger allowed the "ghost" of Frank Troy to hover over Bathsheba and Gabriel's future relationship by ending the movie with a shot of a toy soldier inside the Everdeen-Oak household. No wonder Stamp was credited as the male lead in this film. 

There were other aspects of "FAR FROM THE MADDING CROWD" that either troubled me or failed to impress me. I am at a loss on how Prunella Ransome earned a Golden Globe nomination for her portrayal of Fanny Robin. Mind you, she gave a very good performance. But she was on the screen for such a small amount of time that there seemed to be no opportunity for the narrative to delve into her character. Ransome's Fanny came off as a plot device and a part of me cannot help but blame Hardy's original novel for this failure. Although I cannot deny that Nicholas Roeg's cinematography was visually beautiful to me; I also found myself annoyed by his and Schlesinger's overuse of far shots. It reminded me of how director William Wyler and cinematographer Franz F. Planer nearly went overboard in their use of far shots in the 1958 western, "THE BIG COUNTRY". I read somewhere that Alan Barrett had earned a BAFTA nomination for Best Costume Designs for this film. I do not mean to be cruel, but how in the hell did that happened? I have to be frank. I was not impressed with the costumes featured in this film. Although I managed to spot a few costumes that struck me as a well-done re-creation of fashion in the mid-to-late 1860s, most of the other costumes looked as if they had been rented from a warehouse in Hollywood or London. Not impressed at all.

Aside from my complaints, I enjoyed "FAR FROM THE MADDING CROWD" very much. A good deal of delight in the film originated with Thomas Hardy's original tale. But if I must be honest, a good deal of filmmakers have screwed up a potential adaptation with either bad writing, bad direction or both. Thankfully, I cannot say the same about "FAR FROM MADDING CROWD". Thanks to the first-rate artistry of the film's crew, a well-written screenplay by Frederic Raphael, a very talented cast led by Julie Christie; director John Schlesinger did an excellent in bringing Hardy's tale to the screen.

Thursday, July 20, 2017

"BROKEN LANCE" (1954) Photo Gallery

Below are images from the 1954 Western, "BROKEN LANCE". Directed by Edward Dmytryk, the movie starred Spencer Tracy, Robert Wagner, Jean Peters and Richard Widmark: 

"BROKEN LANCE" (1954) Photo Gallery

a1 Broken Lance DVD Review Spencer Tracy Edward Dmytryk Broken Lance











Friday, July 7, 2017

"LOST" RETROSPECT: (1.12) "Whatever the Case May Be"

"LOST" RETROSPECT: (1.12) "Whatever the Case May Be"

I had never meant to write an article on (1.12) "Whatever the Case May Be", the Season One episode of ABC’s ”LOST”. Honestly. But after I recently re-watched the episode, I realized that I had to say or write something about it. 

”Whatever the Case May Be” happened to be the second episode that featured Kate Austen as a main character. While frolicking in what looked like a spring, Kate and fellow castaway James “Sawyer” Ford came across another chunk of Oceanic Airlines 815’s fuselage section and several dead passengers. Kate also discovered a silver Halliburton case that she asked Sawyer to retrieve for her. The case belonged to the recently dead U.S. Marshal Edward Mars, who had been escorting Kate back to United States soil in order for her to face criminal charges. Being Kate, she decided to tell Sawyer that he could keep the case . . . before making several attempts to get her hands on it by theft. The case not only contained Marshal Mars’ firearms and some money, but also a sentimental object that meant very much to Kate.

How much did that object mean to Kate? As shown in the episode’s flashbacks, it meant so much to her that she staged a bank robbery (in which she pretended to be a potential loan customer and victim) in New Mexico in order to acquire it from one of the bank’s safety deposit box. It seemed that Marshal Mars had placed it there to entrap Kate. As for the object of Kate’s desire, it turned out to be a toy airplane that once belonged to a former childhood sweetheart named Tom Brennan, whose death she was partially responsible for, as shown in a later episode called (1.22) “Born to Run”. Not only was Kate willing to stage a bank robbery in New Mexico and steal the Marshal’s case on the island for it, she was also willing to manipulate and lie to castaway leader Jack Shephard in order to get her hands on it.

Several “B” plots also abound in this episode. One of them featured on Charlie Pace’s continuing melancholy and guilt over Claire Littleton’s kidnapping at the end of (1.10) “Raised By Another”. In short, Charlie sat around and moped over Claire, while the other castaways moved their belongings to another beach in order to prevent everything and everyone from a rising tide that threatened to wash over their camp. In the end, Rose Nadler helped him snapped out of his gloom with tough words and a prayer. John Locke and Boone Carlyle focused on finding ways to open the hatch they had discovered near the end of (1.11) “Even the Best Cowboys Have Daddy Issues” and met with failure. And Sayid Jarrah asked Boone’s stepsister, Shannon Rutherford, to help him translate longtime castaway Danielle Rousseau’s maps and notes, which are written in French. His request attracted Boone’s jealous attention.

Did I like ”Whatever the Case May Be”? No, I did not. In my opinion, it was one of the worst episodes from Season One. In other words, I thought it was a piece of crap. One, the entire storyline about Kate’s efforts to get her hands on the toy airplane struck me as an exercise in irrelevancy. The fact that this particular episode was resolved in ”Born to Run”, the next Kate-centric episode, not only convinced me of the uselessness of this storyline, but also the flaky nature of Kate’s personality. Look, I understand that she had felt guilty for inadvertently causing Tom Brennan’s death. But was it really necessary to set in motion a bank robbery in New Mexico or piss off Jack and Sawyer for that damn toy plane? I do not think so.

Kate’s quest for the toy airplane produced two sequences that really annoyed me. One, her attempts to steal the Halliburton case from Sawyer left me shaking my head in disbelief. At one point, I felt as if I was watching two adolescents behaving like ten year-olds. Both of them seemed ridiculous and immature in their efforts to steal the case from each other . . . not sexy. And why did Kate hand over the case to Sawyer in the first place? She could have maintained the lie that the case belonged to her. Nor did she have to tell Sawyer what was inside the case. At least she would have been spared resorting to childish efforts to get the damn thing. The quest for the toy airplane also produced one of the most ludicrous flashbacks in the series’ history, and one of the dumbest bank robberies in movies or television. The fact that Kate had staged the robbery for the airplane makes me want to upchuck. And if she knew that Marshal Mars had placed the airplane inside the bank, why did she have to enter the bank, unmasked? Why not simply act as one of the masked robbers? And if the whole thing was a trap set up by Marshal Mars, where in the hell was he? Where was the stakeout? And what were Damon Lindelof and Jennifer Johnson thinking when they wrote this episode?

And if the main plot seemed ludicrous beyond belief, the subplots were no better. After discovering the infamous hatch to the Swan Station at the end of the previous episode, (1.11) “All the Best Cowboys Have Daddy Issues”, John Locke and Boone Carlyle decided to keep their discovery a secret. Well . . . Locke did. Boone rather idiotically decided to follow his lead. To this day, I am amazed that so many ”LOST” fans had continued to regard Locke as the castaways’ wise mentor by this point in Season One, considering that his decision to keep the hatch a secret struck me as incredibly stupid. Oh well. Perhaps Lindelhof and Johnson needed this secretive behavior as fodder for future storylines. Another subplot featured Sayid Jarrah and Shannon Rutherford’s efforts to translate the charts and notes that he had stolen from Danielle Rousseau in (1.09) “Solitary”. The storyline regarding the charts and notes amounted to nothing. But it did initiate the romance between the former Iraqi soldier and California dance student. We finally come to the subplot regarding Charlie Pace’s guilt and despair over Claire Littleton’s kidnapping and Rose Nadler’s attempts to help him deal with the latter. One, I found subplot boring. And two, Rose’s attempts to revive him from his despair struck me as a perpetration of the ”Religious Black Woman” cliché. Not only could I have done without this subplot, I could have also done without her dialogue. 

Many fans have viewed Jack’s behavior toward Kate in this episode as abusive and controlling. Perhaps. Perhaps not. I found his reaction to Kate’s revelation about her tracking skills in ”All the Best Cowboys Have Daddy Issues” as controlling and abusive. Frankly, I thought he was being a prick. However, I completely understood his behavior with Kate in this episode. Honestly? Kate had manipulated him and lied to him for the sake of case and a toy airplane. Instead of keeping the case in the first damn place and explaining to Jack why she wanted it opened, Kate behaved like an erratic child. And Jack treated her like one, in a fit of disgust and anger. Boone continued his verbal abuse of Shannon’s self-esteem in this episode. I realize that she had behaved abominably to him, back in Australia. I also realize that Shannon can be a bitch. But she had done nothing to earn such constant and persistent abuse. So . . . Boone behaved like a prick. Sawyer did not treat anyone with such abuse. I found his efforts to open the case rather childish, but that is all. But I thought that Kate treated him in an abusive manner in an effort to get her hands on the case. I realize that she did not want him to know about her criminal past. But as I had stated earlier, she could have continued to claim the case as hers and recruit Jack’s help to open the damn thing. Instead, she allowed Sawyer to take the case. The she resorted to stealth and physical abuse to get it back. Kate had behaved like a prick . . . or a female version of one.

"Whatever the Case May Be" had one or two virtues. Actually, it had one. Larry Fong’s photography of the Hawaiian jungles and beaches remained fresh and beautiful as ever. But with so much infantile and stupid behavior by the characters, and incompetent writing by Damon Lindelhof and Jennifer Johnson, is it any wonder that I hold this episode in deep contempt?