Tom Jones (1963)

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.

I've attempted to watch this "Oscar winner" a number of times and have not gotten through the entire movie. This is a mess! Dialogue undecipherable, no plot, little in the way of characterization. It is a series of pointless scenes leading to nothing. I will say that it foreshadows a great deal of pointless,mindless, noisy, messy drug addled swinging 60's films that followed it. I refer to "Casino Royale", the last part of "What's New Pussycat" and "Rowan and Martins Laugh-in." I suppose at the time it seemed revolutionary and rebellious. But like many a sixties extravagance, it now appears to be nothing but self-indulgent senseless garbage. Oh, and why was Molly hanging out in the woods?

Based on Henry Fielding's classic, Tony Richardson's 'Tom Jones' has received quite a lot of acclaim and is still highly praised after almost half a century. It's quite nicely shot with the exception of the cinematography which was flat. The English location is pleasing to look at and the performances are very good. Albert Finney fits Tom Jones like a puzzle. The costumes are great and the director manages to capture the essence of the time period.However, I found the movie to be incredibly boring. I really tried to enjoy it. The beginning is very rushed and perhaps after about half an hour it moves at a snail's pace. The humour in the dialogues works to an extent, not enough to save this from boring me.There's also a disturbing hunting scene. I don't mind when a movie shows disturbing elements (as long as its relevant to the story) and hunting was a big game during that time period but it just seemed pointless to really kill a deer over it.Anyway, 'Tom Jones' just didn't work for me. Other than Finney's terrific performance and some nice dialogues, it didn't offer much.

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.