Lady Chatterley

I think DH Lawrence would be proud of this film...Pascale Ferran transformed this story we all imagine as an erotic cliché in a very sensible and sensitive movie. Because Lady Chatterley is not the story of a more or less sex-addict bourgeoise we have seen in so many rubbish erotic movies, inspired by the novel. It is much more about a woman who discovers the materiality of world threw a love story. She discovers also that "some people are not naturally made to command others" and in a way her love story with Parkin is a truly waking up to other people and life around her. She discovers her body and the world of the first industrial revolution has it used to be: unfair and unequal. Lady Chatterlay is not only an erotic story but also a very politic and subversive one. DH Lawrence is well known for being very critical about the British society of 1920's and the human side-effects of industrial development. Pascal Ferran perfectly understood the deep meaning of the novel. Moreover, she transmuted those ideas in a very french movie (but in fact the best french author cinema). The way she has filmed the two characters is very intimate but never silly, and that's a great achievement! In a way, her style is very closed to Piala's one. Harsh and poetic at the same time, precise and evocative, sensible and sensitive. This film is very precious!

I didn't really expect too much from this movie and hearing the running time was just short of three hours, was fully prepared to leave after getting a flavour of it. How wrong I was, this is a very fine film and doesn't drag for a moment. It is beautiful, believable and nothing short of a wonderful sexy surprise. All the support acting is measured and helps provide a solid counterbalance for the central couple who gradually learn to let go their inhibitions and slide blissfully from lust to love. It is all very gradually done from Chatterley's first glimpse of the gamekeeper washing himself outside his hut and her consequent, and at the time seemingly over the top, need to sit to gather her senses, literally; to the powerful scene where she asks him to turn and display his erect penis and the wondrous scenes of the naked couple cavorting ecstatically in the pouring rain. All in all a fine mix of the wonders of nature, the manliness of the hand made, the power of sex and the need for love. The more overt political elements that Lawrence would probably have wanted put more to the fore are probably better dealt with here, kept more in the background. Brave film making, especially at a time when being so positive about 'sexual healing' seems so out of vogue.

"Lady Chatterley" is a tale of repression, lust and sexual liberation set in post-World War I France. Despite its title, the movie isn't an adaptation of "Lady Chatterley's Lover," the taboo-shattering D.H. Lawrence novel that scandalized the world when it was published in 1928. The film is actually based on a Lawrence work entitled "John Thomas and Lady Jane" that came out the previous year. But the theme and storyline are just about as erotic and provocative as what we find in its more famous successor.

This version features Marina Hands as the beautiful young wife of an aristocratic mine owner who's been rendered wheelchair-bound and impotent by injuries he sustained on the battlefield. Deprived of sex, Constance begins to fantasize about the husky gamekeeper who lives in the woods on the estate, and it's not long before the two of them have consummated their relationship. Jean Louis Coulloc'h is a particularly interesting casting choice as Parkin, for his scrappy features, thinning hair, linebacker's build and non-matinée-idol looks remove the story from the realm of dime-novel romance and into the arena of sheer physical attraction and lust. At least for awhile, that is, until the almost inevitable rush of feelings begins to overtake the couple, and the harsh realities of sexual mores, marital bonds and class distinctions that so define the era in which they live begin to make themselves felt.

Co-written by Roger Bohbot and director Pascale Ferran, the movie is long (two-hours-and-forty-one minutes, to be exact!), episodic and deliberately paced, but the lush setting, understated human drama and moving performances keep us riveted for the duration.

DH Lawrence's novels may be tough to translate to the screen, so much of his writing is dependent on the words on the page as they form images of extraordinary beauty and sensuality. His novels are quintessentially British and reflect on the dehumanizing effects of modernity and industrialization, confronting issues relating to emotional health and vitality, spontaneity, sexuality, and human instinct. During his lifetime he was even labeled a pornographer, but that was then and now is now, and under the gifted guidance of director/writer (with Roger Bohbot and Pierre Trividic) Pascale Ferran, Lawrence's exquisite tale of sexual awakening has found what for this viewer is the finest transition of the novel to the screen.

The place is England after WW I and Sir Clifford Chatterley (Hippolyte Girardot) is the paraplegic wealthy husband of Constance/Lady Chatterley (a radiant Marina Hands). Quite apropos for the era, Constance tends to her impotent husband, does needlepoint, and takes walks to while away her boredom. On one of her walks she encounters the gamekeeper Parkin (Jean-Louis Coullo'ch), seeing a partially nude man for the first time in her life. The impact awakens her somnolent sexuality and she manages to visit Parkin daily, gradually allowing her lust to unfold. Parkin is 'below her class' but is a masculine, sensuous embodiment of everything Constance has never experienced. They slowly bond and both of them become passionately in love, finding lovemaking in Parkin's hut, in the woods, in the rain - wherever they encounter. Constance wants to have a baby and convinces Clifford that she can become impregnated and the resulting child would be 'Clifford's' by pact. Constance travels to London, the Riviera, and other ports, only to return home believing that Parkin has reclaimed his ex-wife. But there are many surprises that greet her and the manner in which the story resolves (in Ferran's hands) leaves us unsure of the future.

The film is captured amidst the beauties of the natural world - flowers, trees, springs, brooks - and these aspects of the natural world are an influential part of Constance's sexual awakening. Yes, there are scenes of complete nudity and love making but they are photographed so well by Julian Hirsch that they become an integral part of the story. The musical score by Béatrice Thiriet finds the right quality of elegance and sensuality. If there is a problem with this nearly three-hour film it is in the editing by Yann Dedet and Mathilde Muyard that takes liberties with scene transitions that prove disruptive.

But it would be hard to imagine two actors who could match the subtlety and sexual tension that Marina Hands and Jean-Louis Coullo'ch to this film. It is breathtakingly beautiful to experience DH Lawrence's story in the hands of the French crew and cast. Grady Harp

As you enter the cinema, I think there are several instructions certain viewers must first take heed of, as regards this film.

Firstly, face facts, it's French, so don't be surprised if there are hardly four lines of dialogue in the first thirty minutes. This works marvellously as an introduction into the repressed yet sensual world of the characters, but if you know you're likely to get bored without having everything immediately explained, then please save yourself the bother.

Secondly, it ain't all about the sex. If you're seeking XXXX thrills, again, don't bother.

Finally, Lady Chatterley is based upon the second (earlier) version of the book, NOT the famously explicit and more widely published rewrite Lawrence ultimately settled on. Don't be expecting the clunky politics that isn't very relevant in the 2000's, instead enjoy a tale of love and freedom, of hope that two very different people can become a reason for one another's happiness within this overbearing world we're all inevitably a part of.

As for the film itself, acting honours go to Marina Hands for an exquisite portrayal of Constance, truly from her performance every emotion can be felt without a hint of exaggeration. It's delightful stuff. Jean-Louis Coullo'ch's Parkin/gamekeeper is a good fit, for what really is the less starry role, and he handles everything, including a touching confessional scene, with an admirable strength and gentleness.

Underpinning everything is the lavish production, sound and photography to make an audience feel as part of the forest setting, a tranquillity that intimates so much of what the story is trying to say.

This is superb stuff.