Tony
Richardson’s adaptation of Henry Fielding’s classic
novel was one of the most critically acclaimed and
popular comedies of its time, winning four Academy
Awards, including Best Picture. The film follows Tom
Jones (Albert Finney), a country boy who becomes one of
the wildest playboys in 18th-century England, developing
a ravenous taste for women, food, and rowdy adventures.
Over the course of the film, Jones tries to amass his
own fortune and win the heart of Sophie (Susannah York).
Not only does John Osborne’s Oscar-winning screenplay
stay true to the tone of the novel, but the
cast–including Lynn Redgrave in her first screen
role–tears into the story with spirited abandon, making
the movie a wildly entertaining and witty experience.
For the 1989 reissue, Richardson trimmed the film by
seven minutes. — Stephen Thomas Erlewine
A bawdy, exuberant adaptation
of Henry Fielding’s classic 18th century novel, TOM
JONES bears the enviable contradiction of being a
timeless period piece. Boasting both a uniformly
excellent cast and a screenplay by John Osborne that
remains one of the cinema’s most successful literary
hatchet jobs, the film ushered in a new era for British
cinema. Its unabashed commercialism (which had to be
financed by United Artists after its subject matter was
deemed too outré by British financiers) was key to the
subsequent influx of American dollars into the British
film industry, and it signaled the effective end of the
darker, more politicized English Free Cinema movement.
The film was a landmark for a number of other reasons,
first and foremost director Tony Richardson’s
presentation of the subject matter. Presaging MTV-style
film direction by at least three decades, Richardson
directed his film with impressive speed, employing rapid
cuts, frequent breaking-down of the fourth wall, and a
pace breathless enough to make audiences forget that
they were watching what had been a 1000-page novel.
Notable, too, was the fact that a story set two
centuries ago could ring so true with a contemporary
audience. The depiction of Tom’s libidinous past was
marked by the sort of carefree, liberated attitude that
would soon become one of the defining attributes of the
film’s era. Moreover, it featured one of the most
memorable demonstrations of the link between food and
sex ever committed to celluloid, giving new meaning to
the term “human appetite.” With so many lasting
qualities to say nothing of a star-making performance by
a young and dashing Albert Finney it is little surprise
that Tom Jones has stood the test of time as one
of the 20th century’s most enjoyable cinematic
achievements.
The famous,
sex-drenched eating scene between Tom (Albert Finney)
and, (all unknowingly) possibly his mother Mrs. Waters
(Joyce Redman) begins naturally enough with big steaming
pewter bowls of soup, whereat Mrs. Waters leans well
over the table and lustily slurps big round spoonsful,
breasts tumbling out of her bodice, with a
more-than-come-hither look. Tom, nearly overcome,
involuntarily rips a claw off the langouste he has in
his hand and sucks happily on it. Drafts of ale, turkey,
oysters, pears, and wine are then dispatched with loving
attention
Rebecca
Flint
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