Tony Richardson and Albert Finney Add Impish Flair to Fielding's Tom Jones

 

                 A surprisingly lively take on a classic novel, director Tony Richardson’s daring 1963 adaptation of Henry Fielding’s landmark 1749 novel The History of Tom Jones, a Foundling brings the often-ribald tale to the screen with flair and originally. Paring the lengthy tome down to a 128-minute running time via an ingenious screenplay by frequent Richardson collaborator John Osborne, with a playful score by John Addison and fast-paced editing by Antony Gibbs that also aid in swiftly covering the dashing young title hero’s wealth of exploits as he seeks fortune and romance, while encountering many antics and colorful personages in the process. Richardson impressively maintains an amusing-but-relatable tone throughout the boisterous film, carefully guiding his superb cast to create deft portraits than balance comic and sometimes more serious elements, depending on the situation. The racy, jubilant activities unfolding on the screen offered a more overt, modern perspective than normally found in films at the time, allowing Tom Jones to resonate with audiences seeking out more adult-themed material in an era wherein the Production Code was still trying to limit how mature subject matter was portrayed in movies.

                For the young maverick overseeing Tom Jones, the film would bring worldwide fame to Richardson, after he had firmly established himself as one of Britian’s leading lights, both in theater and movies.  Starting in television in the 1950’s, Richardson would quickly rise to the forefront of new directors specializing in the gritty genre of “kitchen sink dramas” after the huge success of the Osborne-penned Look Back in Anger, which debuted in London in 1956, then won further acclaim on Broadway and via a 1959 film version starring Richard Burton. Following this, Richardson would score with several other top British dramas, including The Entertainer featuring Laurence Olivier recreating his trenchant stage performance, 1961’s A Taste of Honey, which he also produced and wrote, and The Loneliness of the Long Distance Runner. This imposing output served Richardson well, giving him the experience and confidence to do an abrupt about-face with the much zanier tone of Tom Jones. The director seems to know exactly when to play up the story’s more theatrical, amusing aspects by means such as speeding up the action or breaking the fourth wall, and adopting a more earnest approach, specifically in the delicate romance that blossoms between Jones and his true love, Sophie Western. Following this career peak, Richardson would continue on stage and film, including another wild comedic adaptation of a famed book with 1965’s Evelyn Waugh-based The Loved One (via a Terry Southern and Christopher Isherwood screenplay), 1975’s Mahogony starring Diana Ross, a return to Fielding territory with 1977’s less-impactful Joseph Andrews and, in his final big screen endeavor, guiding Jessica Lange to a Best Actress Oscar in Blue Sky, before his death in 1991.

                By 1963, star Albert Finney had also quickly risen up the ranks to find himself considered among the most talented artists in his field. Making a major impact on the British stage with his 1956 work as Henry V, followed by Coriolanus and, in both London and Broadway, a wealth of praise for Luther, Finney made a similar impression on screen as, after a 1960 debut in Richardson’s Entertainer, he helped (along with Burton in Anger) usher in the new breed of “Angry Young Men” in films with his powerful work in Saturday Night and Sunday Morning, which brought him a British Academy Award and notice in the states with a Best Actor prize from the National Board of Review. After his initial success in very dramatic mode, Finney’s lighter, charismatic playing in Jones demonstrated the range of his versatility, and how well suit he was for romantic comedies as well as heavy dramas. Finney enacts Tom with boyish earnestness and sincerity, while bringing a positive energy to the role that makes it easy for one to root for this spirited, good-natured hero to gain his place in the world. The inspired Finney deftly handles the high comedy escapades, while also lending a touching warmth to his scenes with Tom’s lady love, Sophie. After Jones, Finney would continue on stage and screen, with highs such as his pairing with Audrey Hepburn for 1967’s moving and stylish Two for the Road, his Oscar-nominated work as a heavily made-up Hercule Poirot in 1974’s star-studded Murder on the Orient Express, a fruitful early to mid-1980s’ period via Annie, Shoot the Moon and two more Oscar nods for The Dresser and Under the Volcano, then later career glory via his beautiful work as the perplexed-but-supportive boss to Julia Robert’s Erin Brockovich in 2000, the same year he took part as the star-packed ensemble in another big critical and commercial hit, Traffic, an Emmy as Winston Churchill for 2002’s The Gathering Storm, then ending his screen career on yet another high note in 2012’s exciting James Bond opus Skyfall, before passing in 2019 at age 82.

The lovely and gifted Susannah York witnessed a major career uptick with her excellent work as Sophie Western. Graduating from the Royal Academy of Dramatic Art as a star pupil in 1958, York started in films in 1960, making an impression in Tunes of Glory, then really coming into her own with a beautiful performance in 1961’s coming-of-age drama The Greengage Summer, followed by a challenging role in Freud: The Secret Passion, which brought her a Golden Globe nomination for Best Actress- Drama. As Sophie, York is radiant and skillful, lending a sweet, graceful air to her playing and generates a gentle, chemistry with Finney that makes their romance ring true. Along Sophie largely represents the main straight figure of the piece amid all the hijinks and clowning, she holds the screen in a compelling manner, allowing a viewer to be as vested in her character as with the more flamboyant playing of her costars. After Tom Jones, York would build a fine filmography, including 1966’s Best Picture A Man for All Seasons, winning a British Academy Award and Golden Globe and Oscar nods for harrowing work as a Hollywood hopeful in They Shoot Horses, Don’t They, a Cannes Best Actress award for Robert Altman’s Images, Emmy-nominated work as Jane Eyre and reaching a huge audience again as the title figure’s mother in 1978’s Superman and its sequel, before her death in 2011, just after her 72^nd birthday.

                Responsible for many moments of hilarity is Hugh Griffith as Squire Western, Sophie’s rude, impulsive and outspoken father. After a 1940 screen debut in Carol Reed’s Night Train to Munich, the colorful character actor stood out in many British films, such as Kind Hearts and Cornets and Laughter in Paradise, while also flourishing on stage, including Tony-nominated work on Broadway for Look Homeward, Angel, before gaining international fame and a Supporting Actor Oscar for 1959’s blockbuster Ben Hur, follow by the epics Exodus and Mutiny on the Bounty prior to Tom Jones, and in Reed’s Oscar-winning Oliver! afterwards. As Western, Griffith is clearly having the time of his life bringing the Squire’s uncouth behavior to life in an unabashed, gleeful manner, with audiences eagerly anticipating him sending the movie into the comic stratosphere every time he blasts into a scene. Although the character’s actions are often rash and sometimes unsympathetic, the lust for life and impish humor Griffith adds to the role draws a viewer to him, with Griffith also conveying that, beneath the swagger, the Squire is a decent figure who ultimately wants the best for Sophie and Tom. 

As the Squire’s regal, confident and domineering sister, Miss Western, Edith Evans stands in perfect contrast to Griffith’s blustery playing, making them a comic duo of great style and animation, as Miss Western attempts to brook no dissention from her sibling, while he appears determined to offer her nothing but sass on a supreme level. Evans made a stage debut in 1912 and became one of the British Theater’s most revered thespians before, save for a few silent movie appearances, moving into films late-career with a striking list of credits, including gloriously recreating one of her most famous roles as Lady Bracknell in 1952’s The Importance of Being Earnest, followed by Look Back in Anger and excellent work opposite Audrey Hepburn as the serene, observant Rev. Mother in 1959’s The Nun’s Story before Tom Jones, and persuasive work thereafter, including two Academy Award nominations for again bringing a famous stage role to screen in 1964’s The Chalk Garden, then delving deep to give possibly her richest, most insightful dramatic portrayal as the lonely old woman clinging to reality in 1967’s The Whisperers, winning a slew of Best Actress prizes in the process but, alas, no Oscar. Evans would continue on stage and the screen up to her death at 88 in 1976, capping her illustrious career with a posthumous appearance in another uninhabited comedy set in a religious order far from The Nun’s Story, Nasty Habits.

Among the rest of a truly top-notch group of players, the bemused Joyce Redman makes one of the strongest impressions as the vivacious and quick-witted Mrs. Waters, with an unforgettable entrance before, in the most famous scene, sharing the lustiest and funniest meal in cinema history with Finney. Joan Greenwood and her distinct, seductive voice are a sublime match for Lady Bellaston, who takes a blatant interest in Tom and his charms. Early in the film Diane Cilento, with scant screen time, also scores heavily as the lusty Molly, a free spirit who passes time with Tom and takes life as it comes. In his first major film role David Warner adeptly delineates Tom’s chief adversary, Blifil, clearly relishing the opportunity to illustrate the calm-but oily villain’s every unchivalrous move, while Lynn Redgrave gets her first film career boost, with a much bigger soon to come as Georgy Girl. Other well-regarded players include Redgrave’s mother, Rachel Kempson, Peter Bull, David Tomlinson, gearing up for Mary Poppins, Wilfrid Lawson and Avis Bunnage.

                Upon release, Tom Jones’ breezy, irreverent tone found great favor with critics and audiences, with the film gaining a then-mammoth $16,000,000 in first-run U.S./Canadian rentals, according to Variety, placing it among the top comedy hits of the 1960’s. Critics were effusive in their praise, leading to a wealth of accolades, including Best Picture awards from The National Board of Review, The New York Film Critic’s Awards, The British Academy Awards (for Best British Film and Best Film From Any Source) and the Golden Globes, as well as placement on The New York Times Ten Best list. Richardson also gained prizes from the NBR and NYFC, as well as the Directors Guild of America award, while Finney won the NYFC and Venice Film Festival Best Actor prizes and a Golden Globe for Most Promising Newcomer- Male. Come Oscar time, the film scored ten nominations, including ones for cast members Cilento, Finney, Evans, Griffith and Redman, while winning for Best Picture, Director, Adapted Screenplay and Best Music Score- Substantially Original.

Although the movie was clearly influential and embraced at the time, helping to usher in the Swingin’ Sixties and British Invasion with the Beatles, the Rolling Stones, Julie Christie and Twiggy just around the corner (among many others), reappraisal of the movie’s quality over the years has not always been positive, with some deeming the film a lark not worthy of the major laurels it once receive, going so far as to place it among the “Worst Best Picture” winners. The author may be biased as, watching the film as a treen during a late-night showing he, expecting a dry, serious Best Picture drama, was delighted to discovered one of the funniest movies he’d yet seen; however, trying to maintain an objective view, the quality of the film and performances hold up, and one wonders if the standard, tired bias regarding comedy work being considered “lesser” than dramatic endeavors in deeming films worthy of awards is at play to a degree in demeriting the considerable assets of Richardson’s high-flying comedy. In any case, it’s hard to ignore the freshness and sense of joie de vivre found in the stylish, rousing adventures of the amorous but good-hearted title character as depicted by Richardson and an A-one cast and crew; those seeking an enjoyable adult romp with plenty of comic brio should find a satisfying cinematic feast with the richly entertaining Tom Jones.