Lady Chatterley

I have seen the BBC adaptation of the DH Lawrence novel made by Ken Russell with Joely Richardson and Sean Bean and there is no comparison: I prefer the French adaptation even if the film is not always faithful to the book on some points (for example, in the book, Sir Clifford is having problems with his miners and his employees because he is very arrogant but in the film, Pascale Ferran does not mention these problems). The actors are maybe a little more good-looking in the BBC version but that's about it (sorry, Sean Bean). And if you want to see a film about a beautiful but bored, aristocratic woman whose sensuality is suddenly re-awakened by her meeting with the sullen, unsociable but virile Parkin/Mellors, then this film is for you. Pascale Ferran seemed to have focused her film on the love-story between Lady Constance/Connie and Parkin, the gamekeeper and the discovery or re-discovery of one's senses. That is why you have beautiful shots of nature, of magnificent trees in spring and why you have many scenes in which Constance is walking in the forest and just listening to the songs of birds. The forest is also the place where she discovers her own sensuality. The actors are brilliant, they magnificently show all sorts of emotions on their faces and the love-making scenes are all made with much reserve, with subtlety...It is all refined and very beautifully-done. I loved this Connie, I could relate to her and I loved the long pauses and the looks between the two leads, the big shots on the hands, on some legs or other parts of the body and some refined clothes. The costumes are also important. This movie reminds me a little of some scenes of The Piano by Jane Campion and if you enjoyed The Piano, I am sure you will like this French adaptation. Definitely a 'must-see'. It is a little long, more than 2 hours and a half, I think but if you are used to watching long BBC period dramas like me, you will have no fear in watching this!

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

"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.

First we may talk about the general atmosphere of this remarkable movie. All sceneries are very beautiful, accurate and full of meaning: the landscapes, the interiors and the characters' clothes like we would expect in a reproduction of events which take place in mid-twenties of last century. In what concerns the plot and story we must keep always in mind that at the time most Victorian moral values still prevail and we must see the movie against this background so what wouldn't be revolutionary nowadays was revolutionary indeed at the time. This is the well told, well acted and well directed story of a woman awakening for the physical side of love life. She is the aristocratic rich wife of a no less aristocratic and rich man who is nevertheless an invalid ridden to a wheelchair for life and sexually impotent of course. This awakening begins when she sees for the first time her husband's gamekeeper naked above his waist and washing himself. She is then overwhelmed by a great psychological trouble and the ensuing uncontrollable need of meeting him again leads her to go to see him once more and finishing by surrender herself to make love with him. The first two love scenes were so quick that she doesn't get to any climax and only during the third scene where she takes a more active part does she reach a full orgasm. It's curious however (but quite in accordance with social patterns of that time) that during the first love scenes between the two the relation master-servant maintains itself before and after sex and only later does it gain a more personal and intimate nature. After the third love scene she even thanks him for it like if it had been a service rendered by him which offends him a lot. This adaptation of the second version of the literary masterpiece novel by the British writer D. H. Lawrence is a great success indeed. This novel was banned as pornographic when it was published first time and only in the sixties of last century a court declared it not pornographic according to he real difference between pornography and eroticism which exists though many people still don't know it but it's out of the scope of this review to explain. Sex is a force of nature and indeed a part of human relations and the literary or artistic works based on it can be object of aesthetic (in the broad sense) evaluation notwithstanding any possible moral evaluations which are not within the scope of a literary or a film essay.

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.