Touches, but doesn't overwhelm – unlike recent adaptations of "Tess of the d'Urbervilles" and "Jude," here Hardy's fatalism is lightened by the belief that our lives are ours to shape.
If Vinterberg does not immediately spring to mind as a likely Hardy interpreter, it may be because the author’s countryman, Michael Winterbottom, seemed to hold exclusive Hardy mining rights for most of the past two decades, during which he delivered a superior “Jude,” an India-set “Tess” (“Trishna”) and a massively underrated version of “The Mayor of Casterbridge” (transposed to the American West and retitled “The Claim”).
But though this “Madding Crowd” is a fairly superficial rendering of Hardy, which doesn’t exhibit the same degree of wrestling with the source material that Polanski showed in “Tess” and Michael Winterbottom has repeatedly demonstrated, not only in his underrated “Jude” but in his more innovative takes on “The Claim” (based on “The Mayor of Casterbridge”) and “Trishna” (based on “Tess”), it nonetheless works on that more mundane level.