Tom Jones (1963)

As one of the greatest British films ever made, Tony Richardson's adaptation of Henry Fielding's classic Tom Jones is long overdue for a full and proper restoration. Shortly before his tragic death from AIDS in 1991, Richardson presided over a personal restoration which included a brand new stereo soundtrack. However, this appeared to be the only real improvement, as the film itself remained the brutally cut TV version that had been around for years. In contrast, MGM's current DVD release is easily the best print of this film available, and technically way in advance of previous video releases and TV airings. Beautifully bright, steady, and well defined with good colour saturation, this digital transfer is an absolute joy to watch, and as far as I can see completely uncut. Even the dodgy "day for night" scenes are shown well exposed, although these are the scenes that would ultimately benefit from restoration. John Addison's brilliant score sounds sharper and cleaner than ever, and the Dolby Digital mono soundtrack is wonderfully crisp and clear, with a stereo feel of sorts on the big music sections. The one small disappointment of this otherwise fine release is MGM's rather creative billing of the movie's aspect ratio being the original theatrical format of 1:66.1 - which here it definitely is not, although not too far removed to withstand blowing up on a widescreen TV. I've always wanted to see this movie in its full aspect ratio, and that together with the inclusion of Richardson's restored stereo soundtrack would have created a perfect release. Sadly, the director is no longer with us to deliver a commentary, but I do feel an additional commentary by stars Albert Finney or Susannah York, would have been an extra delight, and a valuable insight for film students and movie buffs. Incidentally, I was fascinated to learn from MGM's Region 1 packaging, that Tom Jones was the last film President Kennedy watched before his assassination - strange that this interesting factoid was deleted on the otherwise identical Region 2 packaging.

Henry Fielding's mid-18th century novel is adapted for the screen by genius playwright John Osborne, and very creatively licensed it is for this famous film version. Its clear advantage is in Osborne's unbending portrayal of the sheer fun and frolics surrounding this rude and bawdy tale! (In comparison, the shy 1997 BBC version fell at the first fence). Set largely in picturesque South West England, Finney's loveable Tom Jones was a foundling, adopted into the Dorset household of wealthy Squire Allworthy some twenty years previously. Tom now has a winning way with women including one Sophie Weston, the daughter of neighbouring landowner and old reprobate, Squire Weston. Tom's lusty desire for Sophie dispatches the young buck on a rollercoaster chase across Georgian England in search of his true love, and finally to Newgate Prison and the Tyburn gallows. Here in the nick of time he is saved by Squire's Allworthy and Weston, and wins the tender hand of Susannah York's wonderfully luscious Sophie.

For those with an appetite for location fine print, the movie's shooting locations remain largely unchanged since production in 1963. Squire Allworthy's house is Cranborne Manor in the Dorset village of the same name, whilst Squire Weston's house is a mix of the grounds of Steepleton House near Shroton in Dorset, and The Abbey House at Cerne Abbas in Dorset. The main street of Cerne's medieval village was also used for the fabulously photographed hunt gathering. Elizabethan Cranborne Manor is also famously the house where Thomas Hardy set his classic novel Tess of the Durbervilles, and its beautiful 17th century gardens where Finney and York fall in love in Tom Jones, are regularly open to the public. Interestingly, in 1979 Roman Polanski utilised a French doppelganger of Cranborne Manor for his masterpiece adaptation of Hardy's Tess). Tom & Sophie's evocative boating lake and bridge scenes were shot at Steepleton House (though the house was not seen in the film), and the Georgian streets of Bridgewater in Somerset doubled for period London. However, the real thing was used in the sword fight scene between Tom and Mr Fitzpatrick, with London's famous Lincoln's-Inn-Fields providing the location as Henry Fielding originally imagined it. Nearly full marks to MGM for this top quality DVD release of the ultimate feel good film, worthy of its four Academy Awards including Best Picture - why can't British film-makers do this any more?

Tom Jones has suffered the fate of many a groundbreaking hit film: over the decades it's irreverant tone has been so widely imitated - indeed, almost become de rigeur for period comedies - that much of the novelty has worn off. At the time, Tony Richardson's approach, constantly breaking the fourth wall to confide in or wink to the audience, speeding up sequences and revelling in its own anarchy and bawdy innuendo was daring and innovative. Now it looks a bit like a Carry On film with a much better cast and a bigger budget. Still, the cast is good and, as befits what Albert Finney described as production company Woodfall's 'holiday movie' after a run of more serious kitchen-sink dramas, it's clear a good time is being had by all - it's just not as much fun for modern audiences as it must have been in 1963.

The only extra on MGM/UA's DVD is a trailer.

For many years, Tom Jones was my absolute favourite film. My views have mellowed and my tastes have changed somewhat, but I still enjoy seeing it every now and then. It's like an old friend. Although, I will admit, it is one of those films that viewers either love or hate.

Even though the story is set in the England of the early 1700s, the film is solidly a reflection of the 1960s. It was extremely popular when it came out - winning the Oscar as best film. Audiences were overwhelmed by its bawdy humour, sinning and sinful characters, and endless camera trickery - all briskly paced and accompanied by a rollicking musical score. Director Tony Richardson threw everything into the mix - speeded up film, freeze frames, screen wipes, character asides to the audience, a lip-smacking narrator, even a silent movie opening sequence. The characters looked like real people instead of actors - the costumes and settings actually looked lived in. John Osborne's script contained dialogue with a proper period flavour (too much so occasionally) and the whole thing was photographed with a subdued, grainy quality not unlike an old painting. In fact, Tom Jones is almost two films in one - the first part rustic, earthy and halcyon on the sprawling estates of Squires Western and Allworthy, then an abrupt change of style to the intimidating Hogarthian squalour of London where danger seemed to lurk behind every corner. Newgate Gaol and a public hanging are uncompromisingly realistic for what is, after all, basically a comedy.

Most memorable of all are the performances. Albert Finney as Tom and pert Susannah York as his one true love are suitably attractive and talented. But the real flavour of the feast is provided by one of the most incredible supporting casts ever assembled for such a film. Hugh Griffith shamelessly steals every scene he's in but the haughty Edith Evans is more than a match for him. Diane Cilento, Joyce Redman and the incomparable Joan Greenwood give plenty of variety to Tom's sex life, while David Warner, Julian Glover and Peter Bull lead the villains.

I have never read the Henry Fielding novel on which the film is based and have no intention of ever doing so. The film of Tom Jones is more than capable of standing on its own. Its style, like its setting, may seem a like a relic from the distant past. But, in many ways, Tom Jones represents the high point of British film making in the Sixties - an achievement that Brits have rarely equalled since. More than that, Tom Jones is an immensely enjoyable film - it is fun! And that is something we can never have too much of.