lasttimeisaw
British New Wave practitioner Tony Richardson's rumbustious Oscar BEST PICTURE champ has been degraded to something of a damp squib half an century later since its triumph is deemed as "unworthy" by general opinion, in IMDB it holds a 6.7/10, quite a nadir for a redoubtable title-holder. But if a viewer gives it a try with this scrumptiously restored Blu-Ray edition (retrofitted with Dolby Stereo), the consensus is, at the very least, a resplendent period treat enveloped with ample, lilting, euphonious selections to please one's ears and a carefree comedy-of-errors as much beholden to a unique faux-naïf whiff of British nobility as to its often vacuous, non-sensical happenings, which are transmuted from Henry Fielding's 18th century source novel THE HISTORY OF TOM JONES, A FOUNDLING.Our young hero Tom Jones (Finney), whose parentage is the film's best kept secret, is a foundling adopted by Squire Allworthy (Devine), in due time he wins the heart of the young lady Sophie Western (York) with his chivalry, but also has no qualms about copping off with a luscious Molly Seagrim (Cilento), the daughter of a local peasant, and even gallantly defends her names on the back of his black horse, an atypical knight-in-the-shining-armor, the truth is, Tom is a magnetized draw toward the opposite site, which the film flogs to death through the mouths of his many a female admirer, but as fresh-faced as he is, Finney's dreamboat quotient is not potent enough, his appearance often betrays a tinge of sophistication which will mature tangibly with time, ergo, it becomes slightly vexing in this nominal "female gaze" outlook that tapers into frivolity, once Tom sets his foot on his own to explore the world. On the one hand, it looks bizarre now, that the film holds an unmatched record by securing three Oscar nominations in BEST SUPPORTING ACTRESS category (with no win though), granted that the film does present a menagerie of vivacious, delicious and colorful personages: a transmogrified Cilento is a brazen sight to behold; Dame Edith Evans is right on the nose as Sophie's spinster aunt, a moralistic do-gooder cannot be bothered even by a pistol-wielding footpad; Joyce Redman makes splashes with her infamous duet with Finney in their food partaking flirtation as Mrs. Waters, and is spared with an incestuous scandal in the final reveal, apart from those aforementioned three Oscar-nominated ladies, a Golden Globe-nominated Joan Greenwood doesn't cede her reign to anyone else as the amoral Lady Bellaston, but in the event, every character, including the bibulous luvvie Hugh Griffith as Sophie's fatuous father, David Warner's vicious turn in his screen debut and a scene-stealing David Tomlinson as Lord Fellamar who is blatantly ready to ravish his object of desire, even the two leads Tom and Sophie, is wanting of a magic potion which would lend them some substance other than a caricature or a skin-deep nonentity. On the other hand, Richardson maxes out his aptitude to marshal this picture into a resounding spectacle other than the usual suspect of a knockabout ruckus, from its beguiling silent skit opening to the sweeping grandness of a deer hunting hoopla, and to the riveting sword fights, to say nothing of its opulent decorations and garments, one must hand it to him for his audacity and faculty in burnishing this episodic shaggy-dog story as integral as it could be, notwithstanding the shark-jumping ending is visibly rushed, and that final illegitimate-status-to-noble-extraction volte-face is such a conformable device rightfully harking back to the novel's antediluvian provenance.
writers_reign
This is yet another example of a movie weighed down with gongs and critical acclaim at the time - the so-called renaissance of British films aka the kitchen sink school - that seen today is both embarrassing and cringe-making. Albert Finney, always, like Hitchcock, vastly overrated, adds another wrongly overpraised character to his Arthur Seaton (Saturday Night And Sunday Morning)and leads a cast of British luvvies who have been encouraged to let their hair down and slum it in the interest of adding 'picaresque' to their CVs. John Osborne who had not yet joined the Establishment, has fun sending it up and allows himself at least one stinging satire in the hunting scene in which an innocent deer is torn to pieces by the hounds. Osborne allows Michael McLiammoir to narrate in the equivalent of Chapter Headings and the whole thing is totally forgettable.
st-shot
Tom Jones is a rollicking tale of an 18th century rake roaming the English countryside where trouble is sure to follow. Tony Richardson's interpretation of the Fielding novel captures the ribald flavor of the book while Walter Lassaly's flawless photography stunningly captures picturesque landscapes, candle lit interiors and the frenzy of the hunt littered with hounds and horses. Richardson chooses wisely from the picaresque work and Jones gallops along at an energetic pace as Richardson fills his painterly compositions with scenes of subtle and slapstick seduction and narrow escape.As Tom, boyishly handsome Albert Finney is a combination of irresistible charm and clumsy stealth. In spite of his lustful predicaments and date with the hangman Finney somehow maintains a priapic innocence throughout. The supporting cast is uniformly excellent with special mention going to Hugh Griffith's gruff Squire Western Edith Evans, Joyce Redmond and the venerable Jack MacGowan as Patridge.Honored in its day but mostly ignored for its importance today Tom Jones has aged far better than most. Its irreverent style, lush look and energetic rhythm is as fresh and impressive now as it was when first released. An excellently crafted work.
snagleywhiplash
Beautifully filmed, marvelously acted but since it's a farce there's little doubt about how things will eventually turn out, and given that, it lags in parts and could have benefited by better editing. Having said that, still a rare treat! The leads, Finney and York are fine, but it's the supporting cast that steal the show! John Osbourne stuck close to the novel and the sumptuous photography and little details (hardly a scene in the countryside lacks a stray dog or a hen, urban scenes reflect the squalor of 17th Century London) impart a strong sense of place. But again, the overall spriteliness wears a little thin over the length of the film. It's still a worthwhile experience! Enjoy!
