Rent Tom Jones (1963)

Finney, Frolics and Faded Naughtiness - Tom Jones review by griggs

It’s hard to watch Tom Jones now without mentally slotting it next to Barry Lyndon and wondering how on earth this was the one that hoovered up Oscars. Back in ’63 the winking to camera, speeded-up chases and bawdy asides must’ve felt anarchic; these days a lot of it plays like a smug BBC Three costume romp for teenagers.

The comedy’s a mixed bag: some of the innuendo still raises a smile, some of it just feels tired, and a few gags land squarely in the “oh, we don’t do that anymore” category. What keeps it watchable is the energy – the jumpy camerawork, the chaotic cutting, and Albert Finney charging through the countryside like he owns the decade.

There’s also no pretending the camera isn’t half in love with him: the film knows exactly how good Finney looks and keeps catching him in flattering close-ups and soft focus. As a film, it’s more historical curiosity than buried treasure, but it’s not a bad way to spend an evening.

Satirical Adventure. - Tom Jones review by Steve

Exuberant adaptation of Henry Fielding's epic satirical comedy, published in 1749. This won the Oscar for best film, with nine other nominations. Possibly much of its critical success was down to the fresh, innovative style inspired by the French New Wave. Those novelties now look a bit gimmicky. They give the film motion, but don't lock gears with the substance.

But it works brilliantly as a broad sweep of Georgian Britain, whether in the town or the country estate, with its support cast of thieves, ladies of dubious virtue and lusty squires. Albert Finney is well cast as Tom Jones, a foundling of sound heart and good countenance. He is fundamentally moral and the trouble he encounters indicates a corrupt society.

My pick of the three female actors who were nominated in a supporting role is Diane Cilento as an incredibly lecherous strumpet. While the film is a festival of uninhibited camera trickery, it is also an actors film. Their characters are all archetypes which are mostly made memorable by an exaggerated, comic grotesquery.

Except for Finney and his pure true love, played by Susannah York, who are beautiful. John Osborne's script inevitably takes liberties with the extremely long novel. The comedy isn't actually funny and leaves the impression that the film may have been more fun to make than it is to watch. But, its satire on the hypocrisy of fine folk still finds the target.