Plot
Set in the rural West Country in Victorian England, the story features Bathsheba Everdene (Julie Christie), a beautiful, headstrong, independently minded woman who inherits her uncle's farm and decides to manage it herself, which engenders some disapproval from the local farming community. She hires a former neighbor, Gabriel Oak (Alan Bates), to be her shepherd; a rejected suitor, Gabriel lost his own flock of sheep when one of his dogs drove them over a steep cliff. Ignoring Gabriel's love, Bathsheba impulsively sends a valentine to William Boldwood (Peter Finch), a nearby gentleman farmer. When he misinterprets her capriciousness and proposes to her, Bathsheba promises to consider his offer. Instead, however, she becomes enamored of Frank Troy (Terence Stamp), a dashing cavalry officer. Unaware that Troy has refused to marry young Fanny Robin (Prunella Ransome), a maidservant pregnant with his child, because she embarrassed him by going to the wrong church on their wedding day, Bathsheba foolishly becomes his wife. After Troy has gambled away most of Bathsheba's money and created disharmony among the farmhands, he discovers that Fanny has died in childbirth. Filled with remorse, he swears that he never loved Bathsheba, walks out on her, and disappears into the ocean. Bathsheba then promises to marry Boldwood when Troy is declared legally dead; but Troy appears at their engagement party and the nearly deranged Boldwood kills him. Shortly after Boldwood has been sent to prison, Gabriel tells Bathsheba that he is planning to emigrate to America. Realizing how much she has always needed his quiet strength and unselfish devotion, Bathsheba persuades Gabriel to remain in Weatherbury as her husband.
Read more about this topic: Far From The Madding Crowd (1967 Film)
Famous quotes containing the word plot:
“Ends in themselves, my letters plot no change;
They carry nothing dutiable; they won’t
Aspire, astound, establish or estrange.”
—Philip Larkin (1922–1986)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“If you need a certain vitality you can only supply it yourself, or there comes a point, anyway, when no one’s actions but your own seem dramatically convincing and justifiable in the plot that the number of your days concocts.”
—John Ashbery (b. 1927)