1963 Tom Jones: Tom (Albert Finney), Sophia (Susannah York) — Tony Richardson & Tom Osborne (see blog)
1997 Tom Jones Fielding keeping count of characters passing by every which way (John Sessions) — Simon Burke & Metin Huseyin (see blog)
2023 Tom Jones Tom (Solly McLeod) and his mother, Bridget Allworthy (Felicity Montagu) overcome as they recognize one another as mother and son — Gwyneth Hughes and Georgia Parris (blog just below)
Tom: Can a man ever be a gentleman if he doesn’t know who his father is?
Aunt Bridget: Kindness and good conduct make a true gentleman …
Dear friends and readers — and movie watchers,
I’ve been having this deeply pleasurable time watching all three Tom Jones movies in a row, then separately, and then returning to the book, which I taught at both OLLIs in 2015, and then watching them all over again. Reading Osborne’s screenplay! all of which I’ve also written many blogs about (here at Ellen and Jim, there at Austen Reveries, and one paper at academia.edu.) Not to omit a 10 page paper long ago (1966, long lost sight of) as an undergraduate on the plot-design and introductory ironic chapters!
Not to worry, this is not going to be another blow-by-blow account. Nowadays I don’t need to do that because of all the recaps on the Internet, and especially when it’s the tone and ideas/themes figured forth that matter rather than the literal happenings (though these count too). I’ve found 4 very thorough recaps for you. What these do not have and I’ve found little evidence for on popular sites is any knowledge of Henry Fielding’s book.
The points I want to make about the first two movies follow in block form; the third I expatiate a bit.
In 1963 the daring highly original independent artist, Tony Richardson, together with the playwright, John Osborne, one of those angry young men who wrote all male-centered plays, created a highly memorable striking 2 hours and 8 minutes of brilliant film making for the cinema.
Under the impression the book is this good-natured and benign comedy (however savage in action, amoral in norms, coolly detached when it comes to poetic justice), distanced by a narrator, they elected to imitate film types — so we get speeding up and antics as if this were silent film with comical silent film type music. They opted (perhaps unconsciously) to make sex a hilarious joke (this is a male film where rape is a kind of joke, as it is in Fielding’s book). Subversive mischief is the feel of the whole thing. No one even now who ever sees the film can forget the hunt (first time ever done on film), the intensely sensual eating at one another of Tom and Mrs Waters (aka Jenny Jones [Joyce Redman) thought to be his mother at that moment. Both the 1997 and 2023 serials include an imitation of both.
The terrified much put-upon Partridge (the unforgettable Jack MacGowan — the movie has a number of the Ealing comedy regulars in it) trying to hold up Tom on the roadThe characters remain at a distance from us, like puppets occasionally coming alive for intensities of emotion, both joy and exhilarated varieties. The film is brought to an end suddenly by replacing the last quarter of the novel with an imitation of Gay’s Beggar’s Opera, where Tom as Macheath comes near hanging, and he and Sophia finally fall into one another arms.
Now and again Osborne’s screenplay has appercus about the action, humane nature, life that are worth a serious read and do show an understanding of Fielding’s work.
I recommend studying the published screenplay which comes with 200 stills in black-and-white picked and judiciously scattered by Robert Hughes so as to repeat something of the experience with some understanding of what this is about that you imagine you are having in the movie-theater.
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In 1997 one of the finest of the BBC screenplay writers, Simon Burke, and the thoroughly professional director, Metin Huseyin, decided to make a paean to Fielding and his book, to truly faithfully put onto the screen a translation of as much of the book as they could, making Fielding a presence in the film as narrator, voice-over, traffic director, ironic commentator.
I find it superior to either of the other two in conveying the complex and contradictory meanings of the book. The serial is 5 hours long and so the only one which can do justice to the tangled series of diabolical conspiracies (however burlesquely done) that come near to destroying Tom for real. The mood is comical melodrama for the characters as they come and go (however Polonius like this sounds). They’ve altered the frat boy forgiven perspective of the book: this is a pro-active Sophia (Samantha Morton), accompanied by an actively involved wry Honor (Kathy Burke inimitable. risking her job to do the right thing). Sophia is an overt feminist – she will not marry Tom until he proves himself faithful for two years (and we see in the fast forward of two small children, that he was made to so wait). The film-makers bring in the original allusions more: Mrs Waters (Camille Couduri) half-naked following Tom is a leering Eurydice and he a bewildered Orpheus as in the book.
Note how different is the meeting of Tom (Max Beasley) and Partridge (Ron Cook) on the road — they hug frantically as long-lost father and sonNow the characters are allowed to come up close to us as people: they considerably softened Mr Allworthy so that Benjamin Whitlow continually shows love, forgiveness, fondness for Tom, appreciation of him until Tom is betrayed by his own over-emotionalism (we are expected to feel in the film and also the book) upon Mr Allworthy’s recovery. Mrs Bridget (Tessa Peake-Jones) is very fond of Tom throughout; she tells him it’s necessary to do more than be virtuous; one must appear so. Here the women are not slathering all over Tom. I can’t speak too highly of Frances de la Tour as Aunt Western (crazed for status, money, luxury), Lindsay Duncan as Lady Bellaston, turned into a fiendish over-sexed termagant (a Madame de Merteuil), with Peter Capaldi as stalking rapist also roused by indignation, jealousy. The ending here resembles Les Liaisons Dangereuses as they attempt to press-gang, humiliate, frame, drive Tom into murder.
They take the film’s social criticism of the society at the time seriously, have a wider range of application (like the Jacobite war), even if at the end the Team Tom has formed and saves Tom out of gratitude. Tom quietly takes charge of himself by the end of the third episode and is saving Nancy, refusing promiscuous sex (realizing how degraded he’s become). It’s also hilariously funny as the outward antics show the good characters hysterically trying to escape the nooses the bad characters set up for them, with people jumping out of windows. There are two spontaneous duels: Brian Blessed magnificent as Western simply shoots Fellamar – why bother with swords?
It’s a very satisfying film. Watch it over and over.
Sophia and Tom at the piano, Squire Western singing along … a joyous moment
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And so we come to our newest entry:
Gwyneth Hughes and Georgia Parris’s iteration is outstanding for having switched the perspective to that of a woman: our narrator is now Sophia (Sophia Wilde), brought over from Jamaica as the child of an enslaved black woman Squire Western impregnated (actually named! Beneba!) because the old man, Western (Alun Armstrong become a weakly affectionate lonely man) needs an heir and some hope in the form of a next generation. She speaks in the tone of deep memory; she organizes the events in the sequence she tells them so that she has equal time.
Both Tom and Sophia are then are outcasts brought tenuously into the families now. Gwyneth Hughes wrote Miss Austen Regrets and if you follow her career has a record of turning masculinized works into women-centered ones with a genuinely female POV dominating (see my blog on her Five Days). Hughes’s Aunt Western (Shirley Henderson) says she never married and honestly doesn’t see why women should; she also hilariously and also frankly worries over the state of Sophia’s hair when her black lady’s maid, Honor, is not there to make it look polished or styled. Pearl Mackie as Honor is made to do a reprise of Kathy Burke only now the two women (Sophie and Honor) become equals and friends.
Sneaking out to go on the road after Tom and to London to find the (false) safety of Lady Bellaston (played by the enormously tall and statuesque Hannah Waddington) and “Aunt” Harriet (Tamzin Merchant who in the book is Sophia’s cousin, Tamzin Merchant) who flees Mr Fitzpatrick far less frantically than in the book where his violence is rightly taken seriously.
The new important emphasis is an increase of moral gravitas for this Tom: Solly McLeod evidences a tender gravity towards Sophia and an overt selfless kindness throughout — that is indeed what makes him a gentleman. In this film he worries about this as no Tom has before him. Well before he has to be stopped jumping into women’s beds; he hates writing the lying letter to Lady Bellaston as “it’s ugly.” Told by Black George that George stole the 500£ Mr Allworthy (James Fleet, playing his usual self-deprecating way) meant for Tom, and that he used it to build a new house for his family, Tom says he is glad to have been of use. The actor may have been chosen because he’s taller than Waddington (so their liaison will not seem grotesque), but he is no macho male (not a body-built like Sam Heughan aka Jamie from Outlander), and worries about hurting other people’s feelings. He is not so much imprudent (the incident of the drunkenness after Mr Allworthy recovers from an illness is omitted) but rather not looking out for himself: unsuspicious is the note hit. Partridge (Daniel Rigby) here becomes a hanger-on as he does not in the other versions (Fielding’s included) because Tom does have a mind of his own — the comedy comes from this Partridge’s yearning to return home.
Close up we see there is no harm in the Squire and his sister
The use of a female narrator and female POV just transforms it. Repeatedly events we saw from a particular’s POV or Fielding’s are now one of these women. Armstrong as Western keeps muttering about “the women in this family,” but in this film duels are seen as ridiculous things men do. When Tom is having sex with Mrs Waters at Upton, our POV is that of Sophia and Honor listening from the other side. When Fitzpatrick interrupts Tom and Mrs Waters, our POV is that of Mrs Waters ostentatiously (to us) pretending to be eager and waiting patiently for Fitzpatrick all this while. Again and again the mad-dog violent sexual predator is made to seem silly but also mortally dangerous and not to be trusted. The men are seen through immediately (that Mr Fitzpatrick has taken bribes); the women enigmatic. When Tom despairs in prison upon learning he may have fucked his mother, his words have a plangency rarely projected by men.
Sophie Wilde is of course central too; she is wise beyond her years — the black actress moves into this princess role so gracefully — in one sequence she sings a lovely 18th century sounding song. Perhaps she is too without bitter memories (Georgiana Lambe in the latest Sanditon is more realistic this way), too trusting. This film is not color blind; it means to be color conscious but they did not want to register too closely the horrors of enslavement this pastoral skirts.
Tom and Sophia dancing
All the characters want to return home, and home is not Jamaica, or a particular house, but a yearning to escape individual trouble and vexation. It is a funny at times, but in a genuinely more benevolent way than the previous. The jokes are not aggressive (Partridge echoes Pistol from Shakespeare: “Speak or die!”), no one mocks anyone but Bellaston, Fellamar (Tom Durrand Pritchard) and the gloating spiteful Blifil (James Wilbraham) whom poetic justice leaves with in the city (at a gothic like door) with the cold ambitious Lady Bellaston.
They are for the countryside, anti-artifice, and this links the film back to the 2007 Mansfield Park by Maggie Waddie — the ending of both is closely similar. A picnic wedding with a beautiful dance between our hero and heroine and then circle dancing of all as they look forward to peaceful future in this haven of Paradise Hall where once Blifil is ejected (presented as twisted by his envy and jealousy over everyone’s deep love for Tom, but especially his mother) all are safe, stable, contented. We are told Mrs Waters (Susannah Fielding) and Mrs Fitzgerald got on quite well together and never missed Mr F with his crazed sexual predation and violent turn for duels. Honor marries a black inn-keeper and becomes a pub-landlady nearby.
I admit this is not a film where returning to Fielding’s book will do you much good if you want to deepen your understanding of what has given rise to the film. This anti-competitive theme is not taken from Fielding’s book but is a reaction to our world today. No one wants to hustle for gigs. The palette of the movie is pastoral repeatedly — mostly rich autumn colors. Frances Grey as Mrs Miller would not be out of place in the BBC Cranford.
James Fleet as Squire Allworthy sheltering under a tree in the landscape
Ellen