Far From the Madding Crowd

From its strong-willed heroine to its progressive views on socioeconomic class, it’s easy to see what makes Thomas Hardy’s novel Far From the Madding Crowd such an inviting book to adapt for the stage and screen.

The latest version, from Danish director Thomas Vinterberg (The Hunt), is a well-acted drama of romantic roulette that functions as a shallow examination of 19th century feminism with a 21st century mentality.

The story follows Bathsheba (Carey Mulligan), the headstrong heiress of a lavish estate in Victorian England who insists on trying to forge her own way in a patriarchal society, performing many physical tasks and keeping her emotions sequestered. She runs a tight ship among her staff, including a sheepherder (Matthias Schoenarts) who once tried to seduce her and propose marriage.

Despite her intentions, Bathsheba is tempted twice more by men — first a wealthy neighboring landowner (Michael Sheen) and then by a soldier (Tom Sturridge) whose arrogance — and knack for creative swordplay — she initially finds alluring.

Bathsheba’s confidence both in words and actions takes her suitors aback — “I have no need for a husband,” she says during the first act — and it’s intriguing to contemplate whether she’s ahead of her time or just being a stubborn tease.

Mulligan (An Education) proves herself in a role that Julie Christie played in John Schlesinger’s 1967 adaptation. She finds a balance of strength and vulnerability as a woman whose passions often conflict with her sensibilities.

The handsomely mounted period piece is visually striking, evocative of time and place as it captures the lush pastures and rolling countryside.

While the original setting from the book is retained in this version, some of the class and gender politics referenced by Hardy still have relevance today. It’s a shame, then, that the screenplay by David Nicholls (who also watered down the 2012 film version of Great Expectations) instead places such an emphasis on romantic melodrama, perhaps for reasons of mainstream consumption.

Despite some powerful moments, the deliberate pace tends to make the film feels stuffy, and it remains emotionally distant even as its characters profess their feelings for one another. While the costumes and the scenery look great, there’s not much beneath the surface.

Rated PG-13, 119 minutes.