TOM JONES

By Rich Gold

It’s been a long wait for Albert Finney’s film follow-up to “Saturday Night and Sunday Morning.” And though “Tom Jones” is a period piece and very different it has the same lustiness and boisterous content with which to protect the star. It should breeze its way cheerfully through the boxoffice figures. It has sex, Eastmancolor, some prime performers and plenty of action. Tony Richardson has directed John Osborne’s screenplay with verve, though, occasionally, he falls back on camera tricks and editing which are disconcerting.

Based on Henry Fielding’s enduring novel, story is set in Somerset, a West Country lush county, and in London during the 18th century. Hero is Tom Jones (Albert Finney), born in suspicious circumstances, with a maidservant dismissed because she is suspected of being his unwed mother. He is brought up by Squire Allworthy (George Devine) and leads a rollicking life in which women play a prominent part before he finally escapes the gallows after a frame-up. He finds a presumably happy ending in the arms of a neighborhood daughter, Sophie, played in rather over-genteel style by Susannah York.

Ramifications of the plot, which enables Finney to indulge in some considerable sexual activity with a variety of delectable dames, are too complicated to need discussion. But the somewhat sprawling, bawdy and vivid screenplay of John Osborne’s provides some meaty acting opportunities and the thesps grasp their chances with vigorous zest.

Finney is big league. He slips through his adventures with an ebullient gusto that keeps the overlong film on its toes for most of the time. Hugh Griffith and Edith Evans as Squire Western and his sister ham disarmingly. Miss Evans has some of the choicer cameos in the film. Joan Greenwood, George Devine and Wilfrid Lawson are others who get top credits for their work. Angela Baddeley, Rosalind Knight, Rachel Kampson, Jack MacGowran, Freda Jackson and Joyce Redman are others and rate benevolent nods. David Tomlinson with a brief but effective comedy appearance in a guest role as an aristocratic heel, and Diana Cilanto have limited roles but nevertheless prove that it makes sense to bring stars with knowhow to do brief jobs.

Eastmancolor captures some good location and period stuff, lensed well by Walter Lassally, particularly in the Newgate Prison sequence as well as a fox hunting episode.

Director Richardson has occasionally pressed his luck with some over-deliberate arty camera bits. The music of John Addison is a trifle obtrusive and lacking in period style. However, “Tom Jones” measures up as a genial energetic comedy, with an added bonus is Micheal MacLiammoir putting over occasional narration with smooth wit and perception.

Rich.

1963: Best Picture, Director, Adapted Screenplay, Original Music Score.
Nominations: Best Actor (Albert Finney), Supp. Actor (Hugh Griffith), Supp. Actress (Diane Cilento, Dame Edith Evans, Joyce Redman), Color Art Direction

Tom Jones

UK

• Production: Woodfall. Director Tony Richardson; Producer Tony Richardson; Screenplay John Osborne; Camera Walter Lassally; Editor Antony Gibbs; Music John Addison; Art Director Ralph Brinton. At London Pavilion.
• Crew: (Color) Available on VHS, DVD. Original review text from 1963. Running time: 128 MIN.
• With: Tom Jones - Albert Finney Sophie Western - Susannah York Squire Western - Hugh Griffith Miss Western - Edith Evans Lady Bellaston - Joan Greenwood Molly Seagrim - Diane Cilento Squire Allworthy - George Devine Lord Fellamar - David Tomlinson Mrs. Miller - Rosalind Atkinson Black George - Wilfrid Lawson Mrs. Fitzpatrick - Rosalind Knight Partridge - Jack MacGowran Mrs. Seagrim - Freda Jackson Blifil - David Warner Mrs. Waters (Jenny Jones) - Joyce Redman Parson Supple - James Cairnososs Bridget Allworthy - Rachel Kempson Thwackum - Peter Bull Mrs. Wilkins - Angela Baddeley
• Music By: JohnAdison

https://variety.com/1963/film/reviews/tom-jones-2-1200420461/

I AM NOT YOUR NEGRO - DISCOVERING JAMES BALDWIN

 

Devastatingly eloquent … James Baldwin. Photograph: Allstar/Brittany House Pictures 

 

 Raoul Peck dramatises the author’s memoir of Malcolm X, Martin Luther King Jr and Medgar Evers, in this vivid and vital documentary.

Raoul Peck’s outstanding, Oscar-nominated documentary is about the African American activist and author James Baldwin, author of Go Tell It on the Mountain and The Fire Next Time. Peck dramatises Baldwin’s unfinished manuscript Remember This House, his personal memoir of Malcolm X, Martin Luther King Jr and civil rights activist Medgar Evers, murdered by a segregationist in 1963. Baldwin re-emerges as a devastatingly eloquent speaker and public intellectual; a figure who deserves his place alongside Edward Said, Frantz Fanon or Gore Vidal.

Peck puts Samuel L Jackson’s steely narration of Baldwin’s words up against a punchy montage of footage from the Jim Crow to the Ferguson eras, and a fierce soundtrack. (It’s incidentally a great use of Buddy Guy’s Damn Right I’ve Got the Blues, which never sounded so angry or political.) There is a marvellous clip of Baldwin speaking at the Cambridge Union Society, and another on the Dick Cavett Show – the host looking sick with nerves, perhaps because he was about to bring on a conservative intellectual for balance, whom Baldwin would politely trounce.

Baldwin has a compelling analysis of a traumatised “mirror stage” of culture that black people went through in 20th-century America. As kids, they would cheer and identify with the white heroes and heroines of Hollywood culture; then they would see themselves in the mirror and realise they were different from the white stars, and in fact more resembled the baddies and “Indians” they’d been booing.

The film shows Baldwin refusing to be drawn into the violence/non-violence difference of opinion between King and Malcolm X that mainstream commentators leaped on, and steadily maintaining his own critique – although I feel that Peck’s juxtaposition of Doris Day’s mooning and crooning with a lynch victim is a flourish that approximates Baldwin’s anger but not his elegance. There is a compelling section on Baldwin’s discussion of dramatist Lorraine Hansberry, author of A Raisin in the Sun. It is vivid, nutritious film-making.

 

Written by Peter Bradshaw, Fri 7 Apr 2017

https://www.theguardian.com/film/2017/apr/07/i-am-not-your-negro-review-james-baldwin-raoul-peck-documentary