The least compelling thing about “Tom Jones: Masterpiece” is Tom Jones himself. When the four-part miniseries debuts on April 30, it transforms Henry Fielding’s 800-plus page picaresque novel into …
” is Tom Jones himself. When the four-part miniseries debuts on April 30, it transforms Henry Fielding’s 800-plus page picaresque novel into a romcom in which the female lead isn’t only every bit the hero as her male counterpart, but often outshines him.
This iteration of “Tom Jones,” which comes decades after the Oscar-winning, 1963 film starring Albert Finney, follows the same storyline, but is very much a product of the time. Screenwriter Gwyneth Hughes had a gargantuan task ahead of her in boiling down the tome into four hours, while also extracting the female voices that define Tom in the first place.
Here, Solly McLeod picks up the mantle of Tom Jones, and while he’s likeable enough, you never quite get to know him. On his own he doesn’t captivate — but that feels intentional. Instead, he’s defined by the women whose company he keeps, transforming him from literature’s first fuckboy into mouldable clay — a young man with a good heart and little direction.
Speaking of the women, they throw themselves at Tom, and he’s quick to relent in that repulsive, “boys will be boys” way. He loves Sophia, but he reminds you of a Golden Retriever — he’s loyal, yet he can’t help playing fetch with stick-wielding strangers whenever they appear.
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