The peculiar and precarious balance between elegance and brutality which is the hall-mark of the eighteenth century took many forms, varying widely according to country and society; but basically the intelligence, the vitality and the ruthlessness inherent in its self-confidence are instantly recognisable, whether in Versailles or the vernacular. By one of those curious coincidences endemic in the muddle of the film-exhibitor’s world, adaptations of two of the great classics of the period have reached the London screens within a few weeks of each other this summer, one British, the other French.

Fielding’s Tom Jones appears in a full-blooded Woodfall production, directed very much in the mid-century manner by Tony Richardson from a first-class script by John Osborne, in variable but, on the whole, beautiful Eastman Colour adorning the camera work of one of Britain’s best operators, Walter Lassally, and a score byjohn Addinsell. Optimus quisque, as you will note. The coruscating collection of stars studding the cast list means, in the event, that even the smallest parts are so well acted that the whole film has a homogeneity of style that is only too rare in historical pictures. Voltaire’s Candide, on the other hand, retains its eighteenth century style but not its manner in the modern version directed, produced, adapted and scripted by Norbert Carbonnaux. Though to be sure this black and white picture begins neatly enough by getting the best of both worlds (even if neither is demonstrably the best of all possible ones) with its credit titles set wittily against dissolving toile deJouy backgrounds; moreover the film opens with a fancy dress dance for Cunegonde in which everybody (except Candide himself) makes a first appearance in eighteenth century costume.