The battle of the sexes and relationships among the elite of Britian's industrial Midlands in the 1920s. Gerald Crich and Rupert Berkin are best friends who fall in love with a pair of ... See full summary »
When Lucy Honeychurch and chaperone Charlotte Bartlett find themselves in Florence with rooms without views, fellow guests Mr Emerson and son George step in to remedy the situation. Meeting... See full summary »
Helena Bonham Carter,
A film is being made of a story, set in 19th century England, about Charles, a biologist who's engaged to be married, but who falls in love with outcast Sarah, whose melancholy makes her ... See full summary »
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
During the "pie in the face" circus scene, the cream is piled on contemporary 1960s white paper plates with fluted edges. Disposable paper plates were invented in the early 1900s. The movie time frame (which differs slightly from the book) ends around 1868. See more »
He is married to his farm. That's the truth of it.
There's no woman can touch him, Miss. 'Tis said he has no passionate parts.
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For many the casting of sixties beauty Julie Christie as the vulnerable heartbreaker Bathsheba Everdene was erroneous, but Christie does a fine job, and makes the role her own. Schlesinger remains faithful to the romantic spirit of Hardy, drenching the magnificent cinematography in the exquisite pastoral music of Richard Rodney Bennett, who clearly wrote under the influence of Vaughan Williams and Delius, while interpreting the story for the cinema very much in his own way. The film is long; but craftmanlike, and characterised by superb performances, with Peter Finch as the tormented Boldwood, and Alan Bates as Gabriel, who is the moral force within the story, particularly excellent. The film's climax is one of the most hauntingly poignant in sixties cinema.
I like to see it as an oblique commentary on the essentially tragical (and doomed) nature of selfish or sensual or possessive love; and the innate nobility of the marriage state buttressed by genuine mutual respect, with Gabriel as the agent of reason and decency amid so much unbridled passionateness....
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