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.
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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
The song Bathsheba asks Joseph Poorgrass to sing, "Seeds of Love" describes her life: regrets of love, false young men, being trampled under foot, but she will rise again. See more »
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 »
[to her farmhands]
There's ten shillings for anyone who wants to stay, and no hard words for anyone who wants to go.
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""Seeds of Love"" (uncredited)
Words written by Mrs. Fleetwood Habergam around 1689
Maybe sung to a traditional tune by Sir George Macfarren, Come open the door sweet Betty
Sung by Joseph Poorgrass and friends at outdoor feast at request of Bathsheba See more »
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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