Far from the Madding Crowd (1967) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error Far from the Madding Crowd ( 1967 ) PG | Bathsheba Everdene, a willful, flirtatious, young woman, unexpectedly inherits a large farm and is romantically pursued by three very different men. Director: Thomas Hardy (from the novel by), Frederic Raphael (screenplay) Stars: Airs Sun. Jan. 29, 2:00 PM on TCM ON DISC Famous Directors: From Sundance to Prominence From Christopher Nolan to Quentin Tarantino and every Coen brother in between, many of today's most popular directors got their start at the Sundance Film Festival . Here's a list of some of the biggest names to go from Sundance to Hollywood prominence.

a list of 35 titles created 11 May 2011 a list of 40 titles created 11 Dec 2011 a list of 31 titles created 03 Apr 2015 a list of 30 titles created 21 Jun 2015 a list of 27 titles created 11 months ago Title: Far from the Madding Crowd (1967) 7.2/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 1 Oscar. Another 3 wins & 6 nominations. See more awards » Photos A vain, pretty girl has recently taken over her uncle's farm. Her independent, naïve personality leaves her torn between the three men who wish to marry her. Director: Nicholas Renton In Victorian England, the independent and headstrong Bathsheba Everdene attracts three very different suitors: Gabriel Oak, a sheep farmer; Frank Troy, a reckless Sergeant; and William Boldwood, a prosperous and mature bachelor.

Director: Thomas Vinterberg A beautiful but amoral model sleeps her way to the top of the London fashion scene at the height of the Swinging Sixties. Director: John Schlesinger A lazy, irresponsible young clerk in provincial Northern England lives in his own fantasy world and makes emotionally immature decisions as he alienates friends and family. Director: John Schlesinger A tale of torrid and forbidden love between a couple in the English countryside. Director: Joseph Losey After his girlfriend's pregnancy forces him to marry her, a young man must adjust to his new life and contend with his domineering mother-in-law. Director: John Schlesinger Divorced working woman Alex and well-to-do Jewish family doctor Daniel Hirsh share not only the same answering service but also the favours of young Bob Elkin who bed-hops between them as ... See full summary » Director: John Schlesinger Henry VIII of England discards one wife, Katharine of Aragon, who has failed to produce a male heir, in favor of the young and beautiful Anne Boleyn. Director: Charles Jarrott A girl farmer weds a faithless sergeant who is killed by her suitor, and realises she loves the bailiff.

Director: Laurence Trimble Edit Storyline Based on Thomas Hardy's 19th century novel, Bathsheba Everdene is a willful, passionate girl who is never satisfied with anything less than a man's complete and helpless adoration. And she captures the lives and loves of three very different men: Gabriel Oak, a sheep farmer who is captivated by her beauty and proposes marriage; William Boldwood, a prosperous man in his early forties and a confirmed bachelor; and Sergeant Frank Troy, a handsome, reckless swordsman given to sudden fits of violence. Written by alfiehitchie Her romance with three men becomes a bold adventure [UK theatrical] See more » Genres: 18 October 1967 (USA) See more » Also Known As: Lejos del mundanal ruido See more » Filming Locations: 70 mm 6-Track (70 mm prints)| Mono (35 mm prints) Color: Prunella Ransome receives an "introducing" credit. See more » Goofs As Terence Stamp applies makeup for his circus act, an edit shows the half-finished lines drawn on his face, but the subsequent shot shows him applying the lines that were previously there already.

See more » Quotes Boy practicing prayer on way to church walking near Bathsheba as she is waking up in the woods.: Almighty God, give us grace that we may cast away the works of darkness. And put upon us the armor of light, now in the time of this mortal life... Author: The Revd Dr Peter Toon, The Book of the Common Prayer 1549. For the four weeks of Advent. (São Paulo, Brazil) – See all my reviews John Schlesinger's film "Far From the Madding Crowd" is another good and almost epic story about a woman divided for the love of three men. Here Julie Christie plays a woman owner of a farm who gets involved (in one way or another) with a rich farmer (Peter Finch), a rustic and quite gentle countrymen (Alan Bates) and a playful heroic sergeant (Terence Stamp). What makes this story interesting is that she's a woman who most of the time is playing with these men not knowing what love really is and the audience is caught in the middle of her personal choice and their own choice of who's the perfect man for her. My perspective is that she always makes the wrong choice.

First she ignores the countrymen who works with her saying she's not in love with him despite his speech of why she must marry him is very convincingly. He gets out of her life but then he realizes he can't go very far but still keeps working for her. The rich farmer also sounds an excellent choice and he's devoted to her when she tells about her motives of why she won't marry him but if he waits she'll accept him. At last we got the military man, who despite their brief and careless meeting she falls in love with him right away. And just like the sheep that went downhill in the beginning of the movie (by the way terrible and almost pointless scene) their marriage seems to go nowhere, he only wants her money and plus he has a girlfriend. But that powerful woman still loves him: "You're my husband" she cries after he sees the corpse of his girlfriend and she sees that he wasn't interested in her at all. Not a romantic film but it has some clichés and non original things of a similar flick; it's more like a study of how the perception of love is mistaken, confusing and that's why we make some unfortunately choices and some happy and good choices of the person we want to be close. Love?

That's another and complex story. If wasn't for some of the melodramatic clichés in many moments (The military faking his death to escape his wife then his dreadful return to her); the problems involving animals in some depressing parts; and the timing of the movie (it was way too long), it could be a better movie. I don't find the screenplay so complete and intriguing, most of the dialogs are so distant from the public and from the characters that there were times when I thought that characters weren't showing what they really felt at some climatic moments because the text didn't worked well. It is very distant. At least the ensemble casting is fine (Alan Bates and Peter Finch notably), the editing was an enjoyable training exercise of what John Schlesinger would do in "Midnight Cowboy" and the locations are very delightful. Not much of a memorable moment in the career of anyone involved with it but still a good movie that you can watch if you had nothing better to do or just to pass the time. 6/10 5 of 7 people found this review helpful. Was this review helpful to you?

Yes Far from the Madding Crowd | Film from RadioTimes Far from the Madding Crowd Video clips are automatically supplied by broadcasters and distributors. RadioTimes.com is not responsible for the clip's contents. John Schlesinger (1967) Our Score by Jeremy Aspinall Director John Schlesinger had the cream of 1960s British acting talent at his disposal for this beautifully realised adaptation of Thomas Hardy's windswept Wessex romance. Julie Christie (hot after her best actress Oscar for another Schlesinger film, Darling) stars as Bathsheba Everdene, the headstrong country girl made good after inheriting her uncle's estate, who captivates devoted shepherd Gabriel Oak (Alan Bates), lonely landowner Boldwood (Peter Finch) and dashing soldier Sergeant Troy (Terence Stamp). When the film was released in 1967, some critics thought Christie more Swinging Sixties than 1860s, but she remains a fascinating presence and it's easy to see why her trio of suitors could fall under her spell.

The male stars are rather good, too: Stamp is all cheek and charm (his sword-wielding seduction of Bathsheba is a standout), Finch exhibits pain and passion almost in the same breath and Bates is charismatic despite playing a virtual bystander to the trials and tragedies occurring around him. It won't be to every Hardy fan's taste but Nicolas Roeg's masterful photography acts like another member of the cast, convincingly creating a grimy, weather-beaten pastoral landscape that's brilliantly underscored by Richard Rodney Bennett's wistful and evocative music. Summary Part two of two. A beautiful woman arouses the ardour of three rival suitors in 19th-century rural Dorset and, having flirted and toyed with their affections, she chooses to marry a caddish, gambling soldier - a decision that leads to a sequence of harrowing events. John Schlesinger's adaptation of Thomas Hardy's classic novel, with Julie Christie, Alan Bates, Terence Stamp and Peter Finch. Cast & Crew ‎Far from the Madding Crowd (1967) directed by John Schlesinger • Reviews, film + cast • Letterboxd Review by Sally Jane Black 9 I love folk music.

I love English folk, Celtic folk, American folk, real folk music, music that still has its accent, music you can tell is from somewhere. I actually love the folk revival and some of what came after, too, but in my heart of hearts, I know that it's not really folk music. It's acoustic pop music. And that's okay, I love that, too. But folk music needs to be sung by drunken peasants. So of course, I loved this movie. It's a folk song, an epic, beautiful folk song, sung in pure, high tones that suggest an undercurrent of divine melancholy, and then, in the end, it's a jaunty, jovial jig (hey, alliteration!). It's also somewhat feminist!… Review by Paul Lister 2 'Far From the Madding Crowd' is a near three hour epic of Yorkshire accents, sheep herding and swordplay seductions. I expected this Thomas Hardy adaptation to be a trudge to get through judging by my previous experience with Roman Polanski's 'Tess' but it was anything but.

Both films have epic running times but I felt at a distance with Polanski's film, it had all the beauty but underneath I was left cold. John Schlesinger proves to be a much better choice to adapt Hardy's work and combined with his continued working relationship with Julie Christie, succeeds in making the story of Bathsheba Everdene more emotionally engaging than that of Tess Durbeyfield. I found Christie to be captivating in her role,… 2 A wonderful, sweeping, romantic, tragic, maddening epic which I do need to revisit at some point in the near future. Around the time I first saw it I was studying the Hardy novel for my GCSEs, and in Bathsheba Everdene I found a feminist icon which, on screen in the persona of the glorious Julie Christie, was brought vividly to life. Gabriel Oak, the steady farmer who always loved her from a distance, is played by Alan Bates, who is a tad too modern-looking and handsome, but his plodding devotion throughout Bathsheba's mistakes and mis-steps is touching.

Peter Finch, as Boldwood, is a tragic figure doomed to disaster by foolishness, while Terence Stamp - I didn't like him then half… Review by Wilson ★★★★★ John Schlesinger's Far from the Madding Crowd is wonderful film, epic in length but intimate in construction. Schlesinger was a superb director, particularly in the 1960s and early 1970s, and this is one of his best films, absolutely alongside a masterpiece like Sunday, Bloody Sunday. Far from the Madding Crowd is a beautifully constructed film, with Schlesinger directing and the celebrated Nic Roeg providing the cinematography. There are certain scenes in Far from the Madding Crowd that really feel like Roeg's work; the sword swishing seduction, the swimming out to sea, but as a whole it sits more comfortably under Schlesinger's banner, it is interested in narrative, it has great performances and is not alienating. The film is built around… Review by ArizonaJim ★★½ Why do so many people like bad films? Far From the Madding Crowd seems to me an obviously bad film and yet many people seem to love it. It's a film for people who don't like films.

It's based on a famous literary work and that signifies cultural seriousness. It's full of wonderful views of the Dorset countryside. There's a gorgeousness about the photography. The costumes are luxurious. It's a well made film, made in the best of possible taste. But I find it emotionally inert, thematically void. Of course, not everything is dreadful. The early scene, for instance, where Gabriel Oak (Alan Bates) proposes marriage to Bathsheba (Julie Christie) is, in Oak's matter of fact reasoning but evident sincerity,… 2 A wonderful, sweeping, romantic, tragic, maddening epic which I do need to revisit at some point in the near future. Around the time I first saw it I was studying the Hardy novel for my GCSEs, and in Bathsheba Everdene I found a feminist icon which, on screen in the persona of the glorious Julie Christie, was brought vividly to life. Gabriel Oak, the steady farmer who always loved her from a distance, is played by Alan Bates, who is a tad too modern-looking and handsome, but his plodding devotion throughout Bathsheba's mistakes and mis-steps is touching.

Peter Finch, as Boldwood, is a tragic figure doomed to disaster by foolishness, while Terence Stamp - I didn't like him then half… Review by Ryan ★★★★ The Basic Plotline: Based on Thomas Hardy's 19th century novel, Bathsheba Everdene is a willful, passionate girl who is never satisfied with anything less than a man's complete and helpless adoration. And she captures the lives and loves of three very different men: Gabriel Oak, a sheep farmer who is captivated by her beauty and proposes marriage; William Boldwood, a prosperous man in his early forties and a confirmed bachelor; and Sergeant Frank Troy, a handsome, reckless swordsman given to sudden fits of violence... The Pros: The Performances Of Julie Christie, Terrence Stamp And Peter Finch The Cons: The Only Thing I Kinda/Sorta Had An Issue With Was The 2-1/2 Hour Running Time Final Verdict: Far From The Madding Crowd · Film Review Carey Mulligan stars in a book report on Far From The Madding Crowd · Movie Review · The A.V.

Club Share Tweet Carey Mulligan, hair worn in chestnut curls and voice set a little lower than usual, plays Bathsheba Everdene as a flint: hard, sharp, but able to spark or flake when struck from the right angle. If there’s one thing Far From The Madding Crowd gets right, it’s this aspect of her character, even as it struggles, like so many Thomas Hardy adaptations before it, to find a purpose for itself beyond “widescreen study guide.” Picturesque and impersonal, it evacuates incident upon incident, as though Hardy’s plotting were the runs. To be fair, Far From The Madding Crowd isn’t the kind of novel that lends itself to adaptation; it was originally published as a monthly serial, and still reads that way. John Schlesinger’s 1967 adaptation, with Julie Christie as a very different Bathsheba, plodded along for close to three hours. This version, scripted by David Nicholls ( One Day ), chops the second half of the story into a hectic 19th-century soap opera, which isn’t really Hardy’s Far From The Madding Crowd, but could be its own thing, given a touch of the gothic deranged.

It is, after all, a story with multiple rejected marriage proposals and reversals of fortune, in which a wife pries open the coffin of her husband’s first love, and in which a character presumed dead makes an unwelcome return. Unfortunately, director Thomas Vinterberg ( The Celebration , The Hunt ) seems bent on doing his best impression of a stolid BBC veteran on assignment. What that means, generally speaking, is good acting, nice costumes, and camerawork that’s chiefly concerned with making both look interesting. It’s only in those moments when Vinterberg empties the broad, flat widescreen frame and uses it to paint sloping, grassy landscapes that he betrays a glimmer of personal investment. Ironically, these are the moments that feel truest to Hardy’s fiction. Though the novel is set in South Wessex, a corner of Hardy’s “partly real” English countryside, Far From The Madding Crowd shifts the action to its real-life model, Dorset.

(However, Hardy’s fictional place names—Casterbridge for Dorchester, Weatherbury for Puddletown, and so on—are retained.) It’s 1870, and Bathsheba—“Miss Everdene” to just about everyone—is a well-educated woman of modest means. Her neighbor, Mr. Gabriel Oak (Matthias Schoenaerts), proposes marriage, which she rejects for very sensible reasons. When they meet again, it is as employer and employee, she having inherited a large property, he having been ruined by the loss of his livestock. On the most basic level, Hardy’s novel is about two people getting to know and trust each other very slowly, while everything around them changes dramatically. Far From The Madding Crowd can’t seem to work on that basic level; its central relationship—a love story—seems frozen in time, while everything around it moves in sudden jerks. Vinterberg, who co-founded the Dogme 95 movement with Lars Von Trier, has had an uneven career, but he’s always seemed at ease with actors.

Madding’s strength is in its cast: Mulligan, Schoenaerts, Michael Sheen, and possibly Tom Sturridge, whose mannequin-like performance as Sergeant Troy toes the line between being completely credible and very bad. Sheen, playing Mr. Boldwood, the fortyish bachelor who persistently courts Bathsheba, is all flop sweat and fidgeting; he’s pitiful, and sometimes downright painful to watch. He’s not Hardy’s Boldwood, but he’s a Boldwood. The only sad, genuine moment of the film belongs to him. Which raises the question: How does a good-looking movie, based on a very good book, with a fairly good cast, end up not being all that good? It would be easy to pin the blame on Nicholls’ script, which matches every clever new idea—like having Bathsheba sing the traditional folk ballad “The Sprig Of Thyme” to a dinner audience that includes Boldwood and Mr. Oak, her two suitors—with two very corny ones. Compressing the source material squeezes out its psychology and its emotion, turning tragedies into meaningless twists and arcs into plunges.

The truth, though, is that a director can create a space where it’s needed. Far From The Madding Crowd (1967) - Candid Magazine Far From The Madding Crowd (1967) on Jun 8, 2015 Following a widely positive reception towards Thomas Vinterberg’s recent re-up of Far From the Madding Crowd , John Schlesinger’s original 1967 film has been digitally re-mastered and after a limited theatrical re-relase, it is now available on DVD/Blu-ray. Scanned at 4K and restored at 2K from the original 35mm negatives, the digital film restoration was funded by Studiocanal in collaboration with the BFI’s Unlocking Film Heritage programme, award-ing funds from the National Lottery. Created by a dynamic director, writer, producer trio in the form of Schlesinger, Frederic Raphael and Joseph Janni, the film, which spans nearly three hours, was considered somewhat of a dud at the time of release. Critics and audiences couldn’t understand why Schlesinger, who was enjoying success as a director at the forefront of modernist British New Wave cinema, would want to look backwards with a historical drama.

Contemporary audiences have been much kinder to the film. With the timely release of the DVD alongside Vinterberg’s remake, it’s intriguing to watch Julie Christie and Carey Mulligan’s turns as Thomas Hardy’s Bathsheba Everdene side by side. Both actresses capture the headstrong heiress masterfully, via two very different performances. Christie was an unusual casting choice at the time of release; as Schlesinger’s nude-lipped, backcombed and beehived muse, she starred in the director’s modish hits Billy Liar and 1965’s genre-defining Darling, for which she won an Academy Award. Whilst by no means unpopular, critics were baffled by the actress’s inclusion as what would have traditionally been a buxom and rosy-cheeked farmers niece. Christie had already been snubbed for the infamous Bond girl role eventually played by Ursula Andres in Dr. No because of her delicate physique. Based purely on aesthetics, the actress – who had become symbolic of ‘Swinging London’ – looks slightly out of place on a West Country farm, a little awkward on horseback and uncomfortable around a swathe of rural labourers.

Whilst Vinterburg’s film empowers Bathsheba’s costumes and stance with leather riding jackets and boyish jodhpurs, Schlesinger shows Christie in full skirts, bowed hair and virginal white dresses, enhancing her delicate femininity rather than her androgynous mystery. Watching the 1967 film today, it feels as if Christie’s performance was originally underrated. Much like Mulligan, the actress carries the film by capturing the good and bad of the complex female lead, exploring the subtle undercurrents of her character. Though the film’s heroine is loved and lusted over by many men, Christie masters moments of pure narcissism, haughtiness and rage. Bathsheba is shown taunting her admirers and ripping open the coffin of her husband’s young lover, and it’s these scenes that make Christie’s performance fully realised, harnessing the acting skills that earned her the Academy Award. Frederic Raphael’s script explores the intricacies of the film’s male characters in finer detail than its successor, working in moments of dialogue that capture Hardy’s parodies of the English class system. In one scene, various farmhands assemble in the village looking for work. Wealthy landowner Mr.

Bolderwood (played by Peter Finch) joins to seek out new staff and is advised to go with an elderly man who “still has some work left in him” but can be purchased for a low price. After Bolderwood dismisses the man, he is presented with Gabriel Oak (a dishevelled Alan Bates), who is also rejected, after admitting to formerly having his own farm. It’s these scenes that create an uneasy representation of rural Victorian life, where working class men are treated like livestock whilst the wealthy seek status through land ownership and a coveted wife. Whilst Vinterberg’s remake focuses on the slow-burning love story between Bathsheba and Gabriel, Schlesinger’s tale is darker, focusing on the destructive romance between the heroine and Sargeant Troy, originally played by 60s heartthrob Terrance Stamp. Some of the film’s strongest scenes are between Christie and Stamp – who had been lovers before finding stardom – despite the actor going on record as saying that he and Schlesinger had not got on.

In a now-famous scene created from extra footage arranged by producer Joseph Janni, Stamp is shown as a strutting peacock as he swings his sword in a none-too-subtle phallic display to impress Bathsheba, who kneels before him in a white dress. As she raises her concerns at his blade, the soldier leers: “if you’re scared, I can’t perform”. Though both were in new relationships at the time of filming (Stamp with 60s it-girl Jane Shrimpton and Christie with art teacher Don Bessant) the pair share a palpable chemistry that is somewhat missing the film’s other pairings. Much like a Thomas Hardy novel, Schlesinger’s Far From the Madding Crowd requires full audience investment to be enjoyed. Despite its length, it’s not really a story that can be dipped in and out of, as you risk losing the narrative timing and momentum that is so important to the plot. Watching the two cinema adaptations close together is recommended, as the differences in characterisation and tone showcase the achievements of two highly accomplished casts.

Far From The Madding Crowd (1967 – Re-Issue) is now available on DVD/Blu-ray Martha Ling Far from the Madding Crowd review: Carey Mulligan splendid as Bathsheba Everdene Far from the Madding Crowd review: Carey Mulligan splendid as Bathsheba Everdene Rating: 4 out of 5 stars Title Far From the Madding Crowd Genre Carey Mulligan, Matthias Schoenaerts, Tom Sturridge, Michael Sheen, Juno Temple OFLC rating Based on the novel by Thomas Hardy. Full synopsis Close A new Thomas Hardy movie – five words I have had rarely to write in the last 30 years. The novel made him a success in 1874, and has been filmed four times – the last was a telemovie in 1998 but the 1967 version, with Julie Christie, Alan Bates and Peter Finch, is the best known. Great and poetic writer that he was, Hardy's plots are hard to film, because of all their melodramatic twists. Far from the Madding Crowd is no exception, but this version manages those problems well.

By the time that so-and-so dies, or so-and-so discovers that he was in fact her lover and that she had a child etcetera, we are too bound up in the story to care that it stretches all credibility. That's the power of Hardy's storytelling. SHARE Link Carey Mulligan as Bathsheba and Matthias Schoenaerts as Gabriel in Far from the Madding Crowd. The other problem is to find an actress to play Bathsheba Everdene, a beautiful young woman of proud bearing and independence who won't sell herself short in marriage to any man she doesn't love; thus ending up caught between three men who say they love her. Julie Christie was hard to believe as a woman who would get her hands dirty running the farm she inherits in the first few pages. In John Schlesinger's 1967 film, she looked like she'd just stepped out of Harrod's, but she was the "It" girl of the moment, so she got the part. Carey Mulligan, on the other hand, has a different kind of beauty. Bathsheba is supposed to be striking and haughty, youthful and dark-haired and playful, and above all, proud.

She has soft hands and bold eyes and a quick tongue, all of which lead her to refuse Farmer Oak when he comes to propose marriage. Mulligan has all of this and more, contained within a frame so slight that she looks like she'll be blown off her horse by the wind. She's a splendid Bathsheba, in a movie that has a great cast all round. Belgian actor Matthias Schoenaerts has a little trouble sounding like a West Country shepherd, but only a little. He doesn't say much anyway and he brings great smouldering masculinity with him, from across the channel. After a reversal of fortune, he becomes Bathsheba's foreman on her new farm, her silent protector. Michael Sheen is William Boldwood, the middle-aged wealthy farmer who lives next door. He falls madly in love, mistaking a Valentine's card she sent in a cruel jest. Tom Sturridge is the third suitor, the red-coated wastrel and gambler Sergeant Troy, a soldier who sees a target for his powers of seduction. He's a cad, but he makes her blood run faster. This adaptation is by the Danish director Thomas Vinterberg, who has never done anything like it before.

He was one of the founders of Dogme 95, under the rules of which he made the spectacularly successful A Celebration. He made two films in English about 10 years ago, both of which tanked badly, so he returned to Denmark, rebuilding his reputation with The Hunt, in 2012. He has described this adaptation as a "work-for-hire" job that gave him freedom to breathe. It shows in a film that is both highly controlled on the surface, and molten with lust underneath. Vinterberg keeps the action close to the four main characters, rather than at the more polite distance we expect in a British TV adaptation. This makes the film seem more modern, although it means Vinterberg does sometimes go too far. In the big seduction scene, where Sergeant Troy flashes his sword at the quivering Bathsheba, he allows Troy to place his hand where an officer and a gentleman, even one who's a cad, would never presume. Thomas Hardy, in his tomb in Westminster Abbey, has been heard to groan. Advertisement Far from the Madding Crowd - Movies & TV on Google Play Far from the Madding Crowd October 1967 Item added to wishlist. Item removed from wishlist.

You will receive an email when your movie becomes available. You will not be charged until it is released. ( 15) Synopsis Julie Christie stars as a beautiful and fiercely independent Englishwoman of the 19th century in this lush and moving adaptation of Thomas Hardy's classic romantic novel Far From The Madding Crowd. When proud, headstrong and unmarried Bathsheba Everdene (Christie) inherits a farm, she becomes a woman of independent means. Although three men court her, Bathsheba refuses to settle for less than a perfect suitor ... which she will never find. But after she does agree to marry, Bathsheba realizes the mistakes she has made and the damage her actions have caused. My review Carey Mulligan as Thomas Hardy's Bathsheba Everdene in Far From The Madding Crowd | Daily Mail Online Carey Mulligan is known for her adaptability when it comes to movie roles. And the British actress has shown off another facet in her skilled repertoire... as a sheep cleaner. In a brand new clip from new film Far From The Madding Crowd, the 29-year-old gets stuck in in a hands-on scene which involves rinsing off the woolly farm animals.

Period drama role: Carey Mulligan appears as Bathsheba Everdene in the new movie adaptation of Thomas Hardy's iconic novel Far From The Madding Crowd The film - released in UK cinemas on May 1 - is the big-screen adaptation of Thomas Hardy's classic, and sees the award-winning actress take on the role of the independent and beautiful leading lady Bathsheba Everdene. RELATED ARTICLES Share 75 shares The story tells the tale of Bathsheba, who attracts the attention of three very different suitors. One is dashing shepherd Gabriel Oak, played by Matthias Schoenaerts - seen in the preview clip alongside Carey. Have a go! In the new clip for the film, Bathsheba speaks to one of her suitors, as he tempts her in to help with sheep cleaning The good shepherd: Matthias Schoenaerts plays sheep farmer Gabriel Oak in the new movie remake of the classic novel The second is Frank Troy, a handsome and reckless Sergeant played by Tom Sturridge, and the third is William Boldwood, a prosperous, mature bachelor, brought to life by Michael Sheen.

The story, set in Hardy's rural Wessex, follows Bathsheba and the tough decisions she has to make while exploring relationships and love, as well as enduring some harder times through resilience and perseverance. Each of her potential partners has a different way in which to try to win her affections, which gives her insight into their unique and very varied characters. And, in the preview clip for the period drama, set in in the 19th century, Carey's Bathsheba is calm and collected as she steps into the sheep dip to give the handsome Gabriel a hand. Getting stuck in: The independent Miss Everdene is cool, calm and collected as she plunges into the water fully-clothed Shock and awe: Meanwhile, onlookers at the market are surprised by her bold actions Can't hide it: The 29-year-old actress proves she suits period drama roles as much as any other... but her character doesn't quite enjoy the sheep cleaning process A crowd watches on in shock as she takes the plunge in her full skirt, and a romantically tense scene plays out between the potential couple.

This isn't the first time Hardy's iconic fourth novel has been turned into a film: it was previously developed for the silver screen in 1967. The original movie version saw Julie Christie star as Bathsheba, with Terence Stamp as Frank Troy, Peter Finch as William Boldwood and Alan Bates as Gabriel Oak. Big shoes to fill: Carey follows in the footsteps of the legendary Julie Christie, who played Bathsheba Everdene in the 1967 Far From The Madding Crowd film Splashing about: In the scene, it all got a bit romantically charged with Gabriel Oak, one of three suitors vying for Bathsheba's attention But fans of the literary masterpiece are excited for this fresh new version, directed by Oscar-nominee Thomas Vinterberg, which has been a long time in the making: Carey was first seen filming scenes for the film back in 2013. The script was written by the bestselling novelist David Nicholls, who adapted Hardy’s Tess of the D’Urbervilles which starred Gemma Arterton and Eddie Redmayne for the BBC in 2008, as well as another Victorian classic, Great Expectations, in 2012.

Far From The Madding Crowd is released in UK cinemas on Friday May 1. Iconic role: Carey started filming her role as Hardy's heroine back in 2013 - the film is a long time coming Emotionally charged: Bathsheba has to deal with the affections of the three very different men, played by Matthias Schoenaerts (above), Michael Sheen and Tom Sturridge ‘Far From the Madding Crowd’ Then and Now: Can Carey Mulligan Top the 1967 Julie Christie Film? | IndieWire ‘Far From the Madding Crowd’ Then and Now: Can Carey Mulligan Top the 1967 Julie Christie Film? 'Far From the Madding Crowd' Then and Now: Can Carey Mulligan Top the 1967 Julie Christie Film? Apr 22, 2015 11:52 am Share This Article Talk What arthouse film would possess the temerity to go up against a blockbuster behemoth like "Avengers: Age of Ultron" on the opening weekend of the summer movie season?

How about “Far From the Madding Crowd,” a sumptuous romantic period piece that stars talented English beauty Carey Mulligan —on a roll with a hit show currently on Broadway (“Skylight”) and a potential Oscar contender (“Suffragette”) on the big screen this fall—as one of the most fascinating free-spirited literary heroines to ever grace a bookshelf? In fact, the willfully independent Bathsheba Everdene is held in such high regard that badass warrior Katniss Everdeen of “The Hunger Games” has the honor of sharing her surname. Mulligan, the 29-year-old Oscar nominee for 2009’s “An Education” who previously earned her highbrow summer counter-programming stripes as Daisy opposite Leonardo DiCaprio in 2013’s “The Great Gatsby,” has her best acting showcase yet as British author Thomas Hardy’s proto-feminist character. “The Avengers“ sequel might boast the likes of Iron Man, Thor and Captain America.

But the actress is backed by her own impressive assemblage, a trio of Victorian-era male suitors vying for her attention: Matthias Schoenaerts (“Rust and Bone,” “The Drop”) as steadfast sheep herder Gabriel Oaks, Tom Sturridge (“On the Road,” “Effie Gray”) as seductive Sgt. Troy and Michael Sheen (“The Queen,” “The Twilight Saga”) as lonely man of means William Bollwood. But this adaptation of the 1874 novel, about a single young woman who rises to the challenge of overseeing her late uncle’s farm while proving her worth to those in her patriarchal community, finds itself standing in the shadow of another film.

Namely, the 1967 version of “Far From the Madding Crowd” that starred a 27-year-old Julie Christie , the It girl of ‘60s British cinema after winning an Oscar for 1965’s “Darling.” The book also was the basis of a 1915 silent film, a 1998 TV movie and a 2010 contemporary comedy directed by Stephen Frears titled “Tamara Drewe.” But the ’67 release is the one film buffs recall most fondly. Just as that nearly three-hour spectacle, complete with overture and intermission, reflected the tenor of the times, so too does the 21st-century model, which comes in at a relatively swift two hours. Let’s do some “Crowd” control and see how each interpretation fares when stacked up against each other. READ MORE: Carey Mulligan Carries Thomas Vinterberg’s Sweeping "Far From the Madding Crowd" Critical Reception: 1967 – Both Roger Ebert and Bosley Crowther in gave the pastoral epic mixed ratings.

Ebert was ultimately dismissive, stating that Christie was “too sweet and superficial, and so is the film.” Crowther railed against its “antiquated narrative form” and “the dullness of the character revelations.” The film did solid box office in the UK but failed to stir much passion among U.S. moviegoers back although its rep has since grown. 2015 – Reviews so far suggest that the film could have benefited from an expanded running time since it tends to barrel through events in the second half. But much praise has been lavished upon Mulligan’s performance. Raves The Guardian: “Her face has a pinched girlish prettiness combined with a shrewd, slightly schoolmistress-y intelligence. … Her Bathsheba is well turned-out with an impressive line in hats; she is a horsewoman and very keen on rough shooting, not activities that much interested Julie Christie, who was almost ethereally beautiful and fancy-free in the part.” The Director: 1967 – “Madding Crowd” was a rare period-piece foray for British director John Schlesinger.

He began his movie career with so-called “kitchen-sink dramas” such as 1963’s “Billy Liar” before creating a sensation with his of-the-moment capturing of the amoral malaise of swinging London with 1965’s “Darling.” He would enter the top tier of filmmakers with 1969’s “Midnight Cowboy,” which won Oscars for best picture and director. 2015 – Similarly, Danish director Thomas Vintner is going outside his comfort zone with a rather straight-forward and intimate romance based on a 18th-century British novel. The co-founder of the Dogme 95 minimalist movement is best known for 1998’s “The Celebration” and 2012’s “The Hunt,” an Oscar nominee for best foreign-language film. Cinematography: 1967 – Hardy regularly uses the forces of nature to echo the emotional state of his characters, and cinematography is a key storytelling tool in both adaptations. But this version prefers to focus on the murk and muck of the rural countryside, including wallows in post-rain mud.

Director of photography Nicholas Roeg, who would go on to leave an indelible stamp on ‘70s cinema as a director (“Walkabout,” “Don’t Look Now,” “The Man Who Fell to Earth”), preferred an earthy palate and was not averse to camera tricks, such as when the image collapses around the drunken driver of a cart carrying a coffin. 2015 – Threatening clouds gather, sunsets burst forth with a butterscotch glow and snow lends an uneasy frostiness during the scene where Boldwood prematurely throws an engagement party. But even though both films were shot in Dorset, a county in southwest England that inspired Hardy’s fictional area of Wessex, this new version is much more sun-dappled and even decorates the blue sky with an arching rainbow at one point. Director of photography Charlotte Bruus Christensen, one of Vinterberg’s regular collaborators, goes for a brighter country setting.

Bathsheba’s Fashion Sense: 1967— With shoulder-length blonde hair that is more Carnaby Street than 19th-century rustic and a pallor that bespeaks of the ‘60s trend in white Yardley lipstick, Christie’s wardrobe seesaws between peasant girl and fussy aristocrat, depending on her social status at the time. Probably her statement piece would be the white frock she wears when Stamp’s Sgt. Troy in his scarlet-and-black uniform puts on a rather suggestive sword-fighting demonstration for Bathsheba. 2015 – From the first scene, Mulligan knocks it out of the park – or the woods – with the buttery-brown leather riding jacket she dons while galloping on her steed. Her rather youthful farm girl dresses in various shades of flattering blue, including a denim one for dirtier chores, might be even more attractive than the fancier duds she dons when she becomes a landowner. As for her often-tousled reddish-brunette hair that cascades down her back, it is much more convincing that Christie’s anachronistic locks.

The Hottest of the Three Would-Be Suitors: 1967 – With his piercing bedroom eyes, come-hither mustache and a leering grin, Stamp’s Sgt. Troy doesn’t even have to break a sweat to be an object of desire as the man who awakens Bathsheba’s latent lust. He might be cruel, crude and arrogant, but a good bad boy is often hard to resist. The role sent Stamp’s celebrity stock soaring, especially since he and Christie became a real-life couple (immortalized in the lyrics of the Kinks’ “Waterloo Sunset”). Meanwhile, Alan Bates – who has been known to make hearts flutter – is stuck in a “just-friends” role as the selfless Gabriel, who is forever getting Bathsheba out of a jam. His come-on line to her is like something your grandfather would say: “At home by the fire, whenever I look up, there you will be. And whenever you look up, there I shall be.” As for Finch’s Boldwood, even when he falls for Bathsheba’s thoughtless Valentine’s Day joke, he maintains some semblance of macho pride — until Sgt. Troy enters the picture.

2015 – The biggest switch from the earlier film is that, with Schoenaerts in the role, farmhand Gabriel Oaks is quite the rough-hewn hunk– even if Bathsheba doesn’t initially get what makes her MVP employee so special until the very end. Vinterberg actually allows occasional sparks to fly between the two in between performing their agricultural duties. Gabriel also lives up to his guardian angel moniker as he tries to force Bathsheba to be true to herself in between coming to the rescue of her property on several occasions. But a stronger Gabriel leads to a weaker Sgt. Troy, and Sturridge’s stunted part doesn’t allow him enough room to even come close to matching Stamp’s macho grandstanding. Still, he is quite good when Troy and Bathsheba initially encounter one another in the darkened woods and he says to her, “I don’t think I’ve ever seen a face as beautiful as yours.” And when Mulligan as Bathsheba blushingly admits, “I’ve never been kissed” before submitting to his lips.

Meanwhile, Sheen’s tender and tortured Boldwood nearly steals the show as he painfully devotes himself to attempting to convince an unimpressed Bathsheba to be his bride by wowing her with his material goods. Bathsheba’s Rejection of Gabriel’s First Proposal: 1967 – With women’s liberation still in its infancy, Christie’s headstrong Bathsheba often seems more fickle than determined in her choices. When Gabriel asks her to marry him, she basically scoffs at the notion while blurting out, “Sorry, I don’t love you a bit.” 2015 – Mulligan’s Bathsheba exhibits much more self-knowledge and conviction as she rejects Gabriel’s offer of matrimony.

“If I ever were to marry, I would want someone to tame me – and you’d never be able to do it.” When she adds that she is too independent for him and that he would end up despising her, Gabriel shows he, too, is unwavering in his devotion by declaring, “I would not – ever.” Bathsheba’s Song: 1967 – “Bushes and Briars,” a traditional folk song, with the voice of Scottish actress and singer Isla Cameron filling in for Christie’s. 2015 – “Let No Man Steal Your Thyme,” a traditional folk song that was recorded by the group Pentangle in 1968 and is performed by Mulligan herself in a duet with Sheen. The Sword Fight: 1967 – This is the scene that solidified Stamp as a sex symbol and an actor to be reckoned with. One doesn’t need a Freudian scholar to know that when Troy seduces Bathsheba with his demonstration of sword-swinging prowess while waving his blade about her willing body, there is some metaphorical hanky-panky going on.

Schlesinger turned this scene into his “Madding Crowd’s” emblematic centerpiece, employing a hilly setting as a kind of stage, and Stamp charging down the hill with his sword drawn still causes one to hold their breath. 2015 – Vinterberg’s interpretation takes place in an intimate opening in the woods and is effective in its own right while emphasizing the nearness of Troy’s dangerous weapon as it slices the air around Bathsheba. The Rainstorm: 1967 – Special effects being what they were nearly 50 years ago, the downpour during the drunken wedding celebration is mostly a swirl of flying hay with Gabriel struggling to cover the stacks and Bathsheba ineffectually trying to help. 2015 – Gabriel and Bathsheba demonstrate how they make a great team as they defy the angry skies and together place tarps atop the stacks while literally rolling in the hay. The Sexiest Scene: 1967 – The sword fight. 2015 – Oddly, when Gabriel puts his beefy arms around Bathsheba as he shows her how to use a wheel to sharpen the blades use for shearing.

It is right up there with the pottery wheel in “Ghost.” The Most Tragic Scene: 1967 – Bathsheba opens the coffin that holds Troy’s lover Fanny Robin and her dead child. 2015 – When Bathsheba sadly realizes just how Boldwood has lavishly prepared his home with pricey goods, clothing and furnishings in the hopes that she would be his wife.

Question: Which actress played Bathsheba Everdene in the 1967 film ‘Far From the Madding Crowd’?
Answer: Julie Christie