There is concern about the demise of the art of storytelling in film. Comparisons between, say, John Schlesinger’s version of Far from the Madding Crowd (1967) and Thomas Vinterberg’s remake of 2015 lend weight to this concern. In its lyrical evocation the ancient union between people and landscape - a quality evident in Thomas Hardy’s book – and in its subtle revelations of narrative emotion that seem so in keeping with the era, the 1967 version leaves the 2015 out in the co