Critic Reviews



Based on 40 critic reviews provided by
If it isn’t as decorous and deft as the Jane Austen romances of an earlier literary (and cinematic) age, the longing is still there in a story that feels more lived-in, brutish and realistic.
Extremely well done and well acted, it’s an attractive, appealing, involving adaptation, just not as iconic as the ’60s film.
Fresh enough to engage newcomers, respectful enough to appease scholars, this is – for genre fans – pure period-drama porn.
Given the challenge of solving a problem like Bathsheba, Mulligan succeeds, more than Christie did, in providing an answer.
What does register at every turn is a vibrant sense of time and place that pulls us into Hardy’s bygone world even when the drama falters.
Slant Magazine
The lack of real analysis or consideration leaves this perilously close to a Goldilocks-style depiction of privileged female indecision.
The Guardian
There is ultimately something very unbalanced in this movie: the female lead and one male support are outstanding; another supporting male is fine and the third is frankly uncomfortable and miscast.
It’s a title to be admired, certainly, but for all its visual fireworks, Far From The Madding Crowd doesn’t truly ignite an emotional spark.
Hardy gave his heroine a symphonic range, and all an actress can do is pick out certain tones and strains — the fluted whimsy by which Bathsheba is occasionally stirred, or the brassiness of her anger. Julie Christie was the more accomplished flirt, and her beauty was composed of fire and air, whereas Mulligan relies more darkly on earth and water.
Village Voice
As written by Hardy, Bathsheba is bracingly whole and human; here she’s been outlined, and thus circumscribed, by an eager student’s highlighter.

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