Söhne und Liebhaber

This exquisite adaptation of D.H. Lawrence's novel is famed cinematographer Jack Cardiff's most accomplished film as a director; in fact, he was nominated and indeed won several major Best Direction awards (including the Golden Globe). Sadly, none of his other directorial efforts were anywhere near as rewarding although I'd still like to watch at least 2 of them - the epic THE LONG SHIPS (1963) and the horror film THE MUTATIONS (1974; a SE DVD of which has been released under the title THE FREAKMAKER).

Amazingly, this was a Hollywood production (made by 20th Century Fox) and, as such, leading man Dean Stockwell (who was probably never better) was imposed on Cardiff by producer Jerry Wald - though he seems to have been pleased with his performance. The acting of the Oscar-nominated Trevor Howard (as Stockwell's boorish and drunkard coal-miner father) and Mary Ure (as the married but separated young suffragette with whom Stockwell has an affair), as well as Wendy Hiller (as his strong but possessive mother), is irreproachable. The supporting cast includes Ernest Thesiger (in one of his last films) and Donald Pleasence, with both unfortunately having limited screen-time.

Freddie Francis' luminous black-and-white cinematography earned the film its only Oscar; interestingly, Francis also followed in Cardiff's footsteps and became a film director himself (with similarly erratic results, ironically enough). Mario Nascimbene's lovely music score and the film's vivid recreation of an era (in authentic locations, no less) add immeasurably to its lasting impression.

The coal-mine setting recalls earlier films like Carol Reed's THE STARS LOOK DOWN (1939) and John Ford's HOW GREEN WAS MY VALLEY (1941), with which it can be favorably compared. Still, for all its quaint Englishness and the inherent sentimentality of its narrative, the film is a remarkably adult and frank depiction of sexual and artistic awakening vis-à-vis repressed Edwardian society and, together with Ken Russell's equally celebrated adaptation of WOMEN IN LOVE (1969), remains undoubtedly the finest screen rendition of D. H. Lawrence's work.

It's a shame, therefore, that this is as yet unavailable on R1 DVD but the R2 edition I own is a more than adequate substitute, with a very nice-looking print of the main feature, surprisingly strong audio and, apart from the basic supplements of the original theatrical trailer and a stills gallery, features a wonderful interview with Cardiff about the making of SONS AND LOVERS (interspersed with relevant clips from the film itself) which clocks in at around half-an-hour.

In this fine adaptation of the Lawrence novel, the son of a coal-mining family aspires to become an artist. The only American in a British cast, not only does Stockwell flawlessly adopt an English accent, but he also turns in an excellent performance. This is certainly one of the high points of a career that has spanned a remarkable eight decades from the 1940s to the 2010s. Howard and Hiller play his parents and the latter is particularly good. Supplying the love interest are Ure and Sears, two actresses who both died too soon. After a long, distinguished career as a cinematographer, Cardiff scored his first directorial success with this drama.

How can there be so little attention and knowledge about this film? Nominated for SEVEN academy awards including Best Picture!

I have always felt that CinemaScope was made for B&W films. Scope films look really good B&W. And to my mind the best B&W photographed movie of All Time is SONS & LOVERS. This was a prestige picture for distributor 20th Century-Fox, as indicated by the rare lack of drum roll over the Fox Logo - instead the beginning of the outstanding music score is heard. In the Chicagoland area in 1960 and again at a theatre in Okland, CA in 1976 I had the pleasure to view the film with Mag Stereo Sound. I also saw a new print in NYC sometime in the early 80's. So why has Fox let this picture set in obscurity? My only knowlege of any TV exposure was on American Movie Classics Channel (scanned only) about ten years ago. This one NEEDS to be on DVD!!!!!!!!

One last comment. if you've ever read the book, you will really appreciate the great job that was done in "adapting" the novel. The screenplay, which is SO well done, is I'd say a good 80% original material.

Jack Cardiff, the director of "Sons and Lovers" was one of the greatest cinematographers ever. Just think of "Black Narcissus" but as a director he lacked that extra something, call it egomania, single mindedness or whatever you want. "Sons and Lovers" is beautifully crafted but it doesn't have a real center and by that I mean, no real point of view, no personality. What a feast however. Trevor Howard got an Oscar nomination for his role here and he is truly wonderful. The marvelous Wendy Hiller manages to give a soul to the monstrous mother and make her sympathetic without betraying the misogynistic nature of DH Lawrence's vision. But the film belongs to Dean Stockwell. His truth and his beauty is what I took away with me and stayed with me, always.

This is perhaps Jack Cardiff's best known film as a director, and it is certainly not a letdown. 'Sons and Lovers' was DH Lawrence's most autobiographical novel, and here, although some aspects have been shorn down or removed, the substance of that novel comes through.

In the main roles we have US actor Dean Stockwell as Paul Morel, the son who is suffocated by his overbearing mother, and derided by his miner father. His parents are played by Wendy Hiller and Trevor Howard, and they are brilliant in difficult roles. Stockwell, less so, although he certainly looks the part.

The women in Paul's life are played by Heather Sears - another annoying part as Miriam which reminds me of her 'Room at the Top' performance a few years earlier - and Mary Ure, who is a little bland but watchable as Clara. Somehow Ure never really found her niche on the screen.

The film looks sumptuous and the black and white photography is exactly right. There are moving scenes and moments of comedy, plus a wicked cameo appearance by Ernest Thiesinger as an art collector.

This film is much less known than more showy Lawrence adaptations such as 'Women in Love', but it is excellent, well-paced, and is far from a disappointment.