'Far From the Madding Crowd' (2015) Dazzles with Tiny Hats and Women with 'Tude
I was already smiling like a silly nit as I sat down to take in Thomas Vinterberg's Far From the Madding Crowd, aka Video Proof that Carey Mulligan Can Even Look Good in Silly Tiny Hats
Exhibit A: Tiny Hat Doing a Poor Job of Keeping Out the Rain But a Great Job at ~*Fashion~*
Exhibit B: This Tiny Hat Means Business. It is a No-Nonsense Hat.
Exhibit C: The I-Can't-Accept-Your-Hand-in-Marriage-Because-This-Tiny-Hat-is-Cutting-Off-Circulation-to-My-Brain Hat
So the moral of the story is: Let's bring back hats!
Anyways, I had several reasons (apart from a slight obsession with Carey Mulligan) to be excited for this film. First of all, I've read Thomas Hardy's novel of the same name, so I was familiar with the story and characters. Secondly, it's directed by Thomas Vinterberg, a Danish filmmaker best known for his affiliation with the Dogme 95 movement, which declared via manifesto that Dogme filmmakers should create anti-Hollywood films of low budgets, no special effects, and realistically dramatic narratives. This led to his film, Festen (1998), which was shot entirely on Digital Video using a hand-held camera, and is, in a word, incredible. If you're looking for something unique, check it out.
I was interested, then, in seeing how Vinterberg would shoot a landscape other than his native Denmark's dark forests, and, of course, how he would handle the romantic aspects of the narrative. If you're seen any of Vinterberg's past films, you'll know that he's not exactly Team Warm-and-Fuzzy. (Unless you find things like incest, pedophilia, and wrongful convictions romantic).
Turns out, Vinterberg paints a lovely portrait of Hardy's novel. "Paint" is the most fitting word, since certain shots do indeed look like a painting, as Vinterberg always grabs these moments when the lighting is just right, streaming through windows or hitting the actors' faces with a gentle incisiveness that transforms the film from adaptation to art.
Throw in a tiny hat and you could send this to the Louvre
The film's visual richness, its lushness only serves to complement the narrative's sensuousness. The film strays from the book in many ways, the most notable of which is its condensation of time. The book's story takes place over a period of years; the film seems to imply that all the events depicted take place within the range of 18 months. Far From the Madding Crowd follows Bathsheba Everdene (Carey Mulligan) as she rises from poor farmgirl to wealthy farm heiress in 1870s Dorset, breaking hearts all over the countryside. Bathsheba finds herself with three suitors: Gabrial Oak (Matthias Schoenaert), Farmer Boldwood (Michael Sheen), and Sergeant Troy (Tom Sturridge). Oak, like his arborial namesake, is steadfast and loyal, hardworking and honorable. Farmer Boldwood is rich and a tad obsessive. Troy is dashing and seductive. By condensing the events into one year, the film makes Bathsheba's constant stream of suitors seem a bit hilarious.
Almost as hilarious as this fan-made quote poster I found #love
Unrealistic or not, it truly was a pleasure to watch Far From the Madding Crowd simply for Bathsheba's character. While reading the novel, I was struck by how strong Bathsheba was--she's basically a pre-feminism feminist. Spouting lines like, "I have no need for a husband," and "It is difficult for a woman to express her feelings in a language chiefly designed by men to express theirs," Bathsheba is a gripping premonition of the independent working woman. I think it's pretty safe to say that she's the heroine we need in the English literary canon--and the one we see far too infrequently.
With Bathsheba's strength and -- for lack of a better word -- Victorian-era "sass," Carey Mulligan had a huge task set out for her. She did an admirable job channeling the businesslike Bathsheba who radiates competence. Where she failed to convince were the scenes in which Bathsheba goofs off, and acts like the teenager she's supposed to be. Narratively speaking, Bathsheba inherits the farm in her late teens. Obviosuly Mulligan looks and acts much older than that, making it difficult to believe her sincerity when she decides to play a prank on Boldwood and send him a corny Valentine expressing her (unreal) love. In the novel, Bathsheba's progression advances from this silly, flippant girl to a more serious young woman. Mulligan instead dives right into "serious young woman," leaving the first two thirds of the movie feeling insincere and lacking in believability. Nevertheless, she does an incredible job with the later dramatic scenes and ultimately makes for a strong -- if a bit sedate -- Bathsheba Everdene.
She also has a side job as my life coach
Vinterberg's film is a pure joy to watch. Dazzling in its visual beauty and captivating in its story-telling, Far From the Madding Crowd offers a vehicle not only for Mulligan, but for the men playing her suitors as well, each of whom is brilliant throughout the film. Particularly dazzling was Matthias Schoenaert as Gabriel Oak who will, without question, because the next brooding Hollywood hunk in a heartbeat.
Especially because of this Victorian, knife-sharpening take on that pottery scene from Ghost
It's exciting to see all these "woman power" films coming out lately: Pitch Perfect 2, Mad Max: Fury Road, and others all celebrating women both on and off the screen. Far From the Madding Crowd is no exception. Bathesheba's determination to remain in control of her own destiny is relatable even today. And when she effs up, she only becomes a more real, three-dimensional character.
Vinterberg's team treats Bathsheba with the attention she deserves. And for that, the film is a strong work that, even with its dated setting and language, remains pertinent today.
I give this film 4/5 Tiny Hats
