Tom Jones (1963)

The early 1960s was an era of unsettling black comedies, such as "Psycho", "Little Shop of Horrors", "The Manchurian Candidate", "What Ever Happened to Baby Jane?" and "Lolita". As interesting as these films were, even the most jaded audiences must have wanted to see comedy done without cynicism.

"Tom Jones" was a breath of fresh air, and a great critical and commercial success on both sides of the Atlantic. "Mary Poppins" and "My Fair Lady" followed in the same style the next year. These films, all set in England of the past, had a colorful nostalgia that appealed to a much wider audience.

Henry Fielding's massive 1749 novel was condensed into an energetic two hour comedy. Tom Jones (Albert Finney) is a randy, dashing lad of dubious lineage, who has been raised as his own by the taciturn Squire Allworthy (George Devine). Tom's romantic misadventures get him into increasing trouble. His favorite paramour is Sophie (Susannah York), the headstrong daughter of gregarious, hunting obsessed Squire Western (Hugh Griffith).

Albert Finney, director Tony Richardson, and screenwriter John Osborne were the unlikely trio behind "Tom Jones". They had achieved acclaim in British cinema, but primarily for their role in the 'angry young man' genre of the late 1950s and early 1960s.

Albert Finney had starred in the "Saturday Night and Sunday Morning" (1960), while Osborne had written the source play for "Look Back in Anger" (1958). Richardson had a hand in both of these gritty dramas, producing the former and directing the latter. Richardson's "The Loneliness of the Long Distance Runner" was another notable entry in the genre.

These urban, contemporary, and black and white films could hardly be more different than "Tom Jones", a technicolor comedy set in the countryside some two hundred years earlier. Tom Jones is far from being a disaffected anti-hero. He lives impulsively and joyfully, without bearing a grudge against those who scheme against him. Tom is both chivalrous and opportunistic, but spends little pondering the long term implications of his actions. Sophie had better take care in the hiring of her servants.

The freewheeling and easy tone of the film is set by the director. Richardson uses devices such as a silent movie score, freeze frames, mugging to the camera, and speeded-up slapstick to give a big wink to the camera. One wonders how the plot would have survived American censors of the 1940s. For example, Tom Jones wins the love of Sophie despite his uncontrollable philandering.

Lynn Redgrave makes her feature debut, in a bit role as a tavern worker. She would achieve film stardom a few years later with "Georgy Girl".

Given the film's production values and the Academy's anglophile tendencies, it was no surprise that "Tom Jones" landed ten Oscar nominations. It won in four of the categories, including Best Picture, Best Director, Best Adapted Screenplay and Best Original Score (John Addison).

Albert Finney was nominated as Best Actor, and Hugh Griffith as Best Supporting Actor. The film received three (!) nominations for Best Supporting Actress, with Diane Cilento, Edith Evans and Joyce Redman fighting a losing battle against Margaret Rutherford ("The V.I.P.s").

"Tom Jones" is well deserving of its Best Picture Oscar. However, it isn't certain that it is the best film of 1963, which also gave us "Hud" and Elia Kazan's "America, America".

"Tom Jones" marked the beginning of a 'golden age' of British comedies. These included "Dr. Strangelove" (1964), "A Hard Day's Night" (1964), "A Shot in the Dark" (1964), "Help!" (1965), and "The Wrong Box" (1966).

"Tom Jones" was the last film screened for President Kennedy, about one week before his assassination. "The Manchurian Candidate" would have been more appropriate!

(84/100)

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