Far from the Madding Crowd


Drama / History / Romance

Rotten Tomatoes Critics - Certified Fresh 71%
Rotten Tomatoes Audience - Upright 78%
IMDb Rating 7.2 10 4,719


Downloaded 48,926 times
May 1, 2019


Alan Bates as Stephen
Freddie Jones as Dallben
Julie Christie as Constance Miller
Terence Stamp as The Visitor
720p.BLU 1080p.BLU
1.03 GB
23.976 fps
168 min
P/S N/A / N/A
2.27 GB
23.976 fps
168 min
P/S N/A / N/A

Movie Reviews

Reviewed by artzau 9 / 10 / 10

Boring? NO WAY!

Like another reviewer, I'm continuously amazed at detractors to this fine adaptation of Thomas Hardy's strongest novel. The reviewer who whines about it being "boring" should tune into a good TV sit-com and let the good cinema go-- it will always be "boring." Those reviewers, and there are several, who read Hardy can appreciate this fine film which builds on directly on Hardy's novel. One reviewer noted that Hardy "...gets into the heads of his characters..." Quite true, but unless you're goofy like the Coen Brothers or Terry Gilliam, you can't always do that in the cinema. So, Schlesinger does the next best thing in developing the characters with an excellent cast including Christie, Finch, Stamp and Bates. This is an excellent film and captures much of the rural English lifeways that Hardy wrote about in this and Tess of the D'Ubervilles, Return of the Native and others. Check it out.

Reviewed by gavin6942 10 / 10 / 10

Bland But Alright

Bathsheba Everdene (Julie Christie), a willful, flirtatious, young woman, unexpectedly inherits a large farm and is romantically pursued by three very different men. Roger Ebert wrote, "Thomas Hardy's novel told of a 19th century rural England in which class distinctions and unyielding social codes surrounded his characters. They were far from the madding crowd whether they liked it or not, and got tangled in each other's problems because there was nowhere else to turn. It's not simply that Bathsheba (Julie Christie) was courted by the three men in her life, but that she was courted by ALL three men in her life." This is an interesting point. What he is essentially saying is that this upper class does not have to deal with the lower classes, but due in part to their limited numbers, they are forced to deal with each other. One supposes this could be said of the royal families in ages past -- marriages could be based on love, but it would be a limited love due to its bracketing of certain options.

Reviewed by JohnHowardReid 10 / 10 / 10

Perfect! Just perfect!

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.

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