I caught the first half hour of this when it originally aired on CBS in 1994, but as I was a teenager I did not know of Thomas Hardy's work, nor did I recognize Catherine Zeta-Jones or Clive Owen as they were both unknown in North America at the time. I have since taken a liking to watching period films and reading the classic novels upon which they are based. I have read the novel of The Return of the Native several times; it is one of my favorite Hardy novels, but I couldn't help but notice some similarities to Emily Bronte's Wuthering Heights, similarities that are evident in the film as well. Wind-swept moors, a headstrong, misguided heroine who marries a kind-hearted but dull gentleman for opportunity and possibility of society acceptance yet she maintains her strong connection to the brooding, roguish man who is tormented by the spell she casts. Spell, of course, used as a figure of speech, although raven-haired Eustacia Vye (Zeta-Jones) is suspected to be a witch and shunned by the locals of Egdon Heath, since her effect on men seems to have some kind of bewitching quality in their eyes. Even though Damon Wildeve (Owen) is pledged to marry the fair Thomasin Yeobright (Claire Skinner),he cannot seem to shake his feelings for Eustacia, who keeps drawing him to her with her bonfires and her indecision to leave England with him. As much as she wants to escape from Egdon, she feels that somehow Wildeve is beneath her, so when Thomasin's cousin Clym (Ray Stevenson) returns from Paris, she immediately sets her sights on him and leaves Damon in the dust. He, in turn, marries Thomasin almost out of spite, hoping to hurt Eustacia, but she only pushes forward with her plan to win Clym's heart, wed him and hoping that he will take her away from the heath she despises so much. However, with Hardy, things rarely the work out the way his characters hope - Clym wants to stay in Wessex, to open a school and live simply, which only brings his wife to despair and boredom. She begins to wonder if she made a mistake, and re-encountering her former lover only cements her confusion. She is somewhat torn, and this ultimately brings on her downfall as well as Damon's. Other notable portrayals are Steven MackIntosh as reddleman Diggory Venn, who unselfishly loves Thomasin and will do anything to see her happy; his character is both honorable and down-to-earth yet possesses a kind of unworldly knowledge about what he sees around him. And the ever reliable Joan Plowright as Clym's mother turns in yet another wonderful performance. Of course, there are liberties taken (cause of death of Mrs. Yeobright is altered, omission of Damon and Thomasin's child, inclusion of more of the novel's text would have been good at the climax),but overall, for the running time, Hallmark did a commendable job with this presentation. The characters of Eustacia, Wildeve, Diggory and even Thomasin have always held more interest for me than Clym, who in my opinion was never a very compelling character to begin with, sort of like Edgar Linton. Stevenson, also a virtual unknown at the time, does well with his pretty much thankless role - I never really understood what Eustacia saw in him other than her plans for escape and maybe his idealism, but Damon was a far better match for her. With Clym, she sees what she wants to see, whereas with Damon the reality is something that she doesn't know if she wants to see (there has to be some symbolism of Clym losing his sight). Of course, Eustacia and Damon are the most tragic, and are doomed, not only because they are both outsiders and their relationship to each other (which would be considered scandalous in Victorian England),but their desire to escape is only achieved in death. One of the complaints I have about this production is how there was none of the novel's dialogue when Eustacia takes her fatal plunge and Wildeve's ill-fated attempt to rescue her were included.

Filmed in Exmoor National Park (rather than in Dorset),the location does make the setting seem more rugged and wild, the music is very emotional and romantic, the cinematography very lush and pretty, Zeta-Jones is costumed more colorfully than the other women, no doubt to make to make her more distinctive (but her beauty does that alone). Very good supporting cast also. And I have to say, I cannot picture anyone else but Catherine and Clive in the roles, even when I read the novel. It's worth seeing for them and the landscape alone!

To celebrate my 1,300th review for IMDb, I turn to a film based on the work of my favourite author. Despite his prominent position in the canon of English literature, Thomas Hardy has never really been a mainstay of the cinema in the way that, say Dickens or (in recent years) Jane Austen have been. Although there have been occasional excellent Hardy adaptations, such as Schlesinger's "Far from the Madding Crowd" or Polanski's "Tess", a number of his novels have never been the subject of a feature film. I am not just talking about his more obscure works such as "Desperate Remedies" or "The Hand of Ethelberta"; there has never been a film based upon a novel as great as "The Mayor of Casterbridge", unless one counts Michael Winterbottom's eccentric "The Claim", which alters the plot considerably and transfers it to the American West. "The Return of the Native" is another great Hardy novel which has never been filmed for the cinema; this TV movie from 1994 is the only film version.

The plot is essentially a complex love pentagon. At its heart are two unhappy marriages, those of Damon and Thomasin ("Tamsin") Wildeve and Clement ("Clym") and Eustacia Yeobright. The fifth corner of the pentagon is Diggory Venn, a young man who was a rejected suitor for Thomasin's hand before her marriage. Damon and Eustacia were lovers before their respective marriages, and both cherish the hope that their former intimacy can be rekindled. (Their spouses Clym and Thomasin are cousins).

Hardy pays comparatively little attention to the Wildeves' marriage; the simple problem between them is that Damon, an innkeeper by trade, is a handsome scoundrel with a roving eve who finds it impossible to remain faithful to one woman. He analyses the Yeobrights' marriage, however, in greater detail. Clym, the returning native of the title, has been a successful diamond merchant based in Paris. Eustacia is a proud and independent young woman, intelligent if with little formal education, who dreams of seeing the wider world. Her main hope in marrying Clym was that he would return to Paris taking her with him. He, however, has tired of the diamond trade and of the comfortable middle-class life he led in Paris. He believes that he has been called to some higher purpose in life and dreams of opening a local school where he can teach the local children of the remote heathland area in which the story is set. Eustacia hates the heathland, which she sees as bleak and forbidding, so is dismayed to realise that her husband is set upon spending the rest of his life there. It is her discontent, and Damon's faithlessness, which precipitate the story's final tragedy.

The settings for Hardy's novels are always significant. The landscape takes on such importance that it almost becomes a character in its own right, and this is particularly true of "The Return of the Native". It is therefore unfortunate that the makers of this film decided to shoot it on Exmoor rather than the Dorset heaths (or "Egdon Heath"as Hardy called them). Geographically the two areas are not too far apart, but the landscapes we see here are more rugged and mountainous than anywhere in Dorset and more conventionally picturesque. I couldn't help feeling that if Eustacia had grown up in the beautiful countryside we see here she would never have wanted to leave.

I felt that Claire Skinner was a bit weak as Thomasin (although, to be fair to her, the sweet-natured Thomasin, overshadowed by her rogue of a husband and her more glamorous rival Eustacia, is not the strongest character in the novel). These, however, would be my only criticisms of the film, which is in all other respects a very worthy adaptation of a great novel, and follows its story fairly closely. (There are, however, a few simplifications and alterations of Hardy's plot, notably the manner of Clym's mother's death). The rest of the cast are generally very good, and I was very taken with Ray Stevenson as the decent and idealistic Clym. (I am rather surprised that I have not heard more of him since 1994). The real revelation for me, however- certainly when I first saw the film- was the performance of Catherine Zeta Jones as Eustacia.

Apart from Tess, Eustacia is Hardy's greatest heroine, in my view greater even than Bathsheba Everdene. She is by temperament utterly unsuited to her sincere, kindly husband, and brings tragedy on him and on herself through her wild and impetuous behaviour, yet it is impossible for the reader not to feel some sympathy with her in a way in which we do not feel sympathy with, for example, her lover Wildeve. Like Clym, she can see all too clearly the darker side of life on Egdon Heath and the narrowness and ignorance of its denizens, some of whom quite literally still practise witchcraft. Unlike him, she is unable to see the beauty of the area or to envisage any solution to its problems other than escaping from them.

In 1994 Catherine Zeta was a striking young newcomer, strikingly and exotically beautiful, but generally regarded as most at home in light comedies like the "Darling Buds of May" television series in which she first made her name. "The Return of the Native" was her first chance to prove herself as a tragic actress, and she rose brilliantly to the challenge of playing this challenging role. She has, of course, gone on to become a major international star, although I have sometimes thought that Hollywood has used her too much as a comedienne and action heroine and has not done enough to find similarly demanding parts for her. This still remains my favourite of all her films. 8/10

In 1994, Catherine Zeta-Jones sealed her fate to forever play the bad girl. She starred in two television adaptations of very famous novels, Catherine Cookson's The Cinder Path and Thomas Hardy's The Return of the Native. In the latter, she plays the bewitching village outcast whose power over men is so great the townspeople think she's a witch. She enjoys toying with their emotions, but soon learns the consequences of her actions.

With a large supporting cast of Clive Owen, Steven Mackintosh, Joan Plowright, Celia Imrie, Ray Stevenson, and Claire Skinner, The Return of the Native is a must-see for fans of historical romances. Keep in mind that it comes from a Thomas Hardy novel, so it'll be a little depressing. There's also some strange elements included in the story, like the alleged witchery and the constant red pigment to Steven Mackintosh's skin-which is explained better in the book.

It's difficult to hate Catherine because she's so beautiful, and at times during the sad story, you'll even feel sorry for her. She, Ray, Steven, and Joan give great performances, tugging at your heart and making you want more when the movie's over. While this one isn't my favorite sweeping historical drama-Thomas Hardy stories are just too sad for me-it's a very famous one to add to your list if you like that genre.