Love

Ken Russell's film (based on the novel of the same name by D.H. Lawrence) is an interesting piece in that he is able to use his camera to help the audience see one situation from two extremely diverse points-of-view, from that of the loving schoolmarm Ursula (Jennie Linden in a brilliant performance), to the manipulative Gudrun (Glenda Jackson.)

Russell has quite a knack of using his camera to create the emotions he wishes to extract from his audience. Russell's technique of turning his camera sideways as Ursula and Rupert (Alan Bates) run nude through the fields has been dismissed by some, but it is quite effective in creating the unreal state in which their romance seems to find them, one quite different from the hardness and madness that surrounds them. This too is achieved to stunning effect as the two lovers are seen twisted together in the mud in the same position that two deceased lovers had been found only hours before. The colors surrounding these two are always bright and warm, in stark contrast to the way the other pair of lovers, Gudrun and Gerald (Oliver Reed) are photographed.

Gudrun and Gerald's initial sexual encounter is harshly lit and edited, emphasizing the brutality of their situation. Their love is shown to be more of an addiction, rather than true love.

It would take more than 1,000 words to paint an accurate work picture of the films' creative genius and incredible cinematography. One scene in particular, a nude wrestling match between Rupert and Gerald quite defies description, and I urge you to see the film and experience it's mastery yourself.

No apology for including this with my 'extreme' movies because not only was it considered so in 1969 it has held up remarkably well and still packs a punch. Whilst I recall it was the fully nude male wrestling scene that attracted most attention originally, it is clear to see now that there was so much more going on that was of just as an extreme nature. For good and bad Lawrence seems extremely well represented with his, love hate relationship with women and his fondness of the work ethic. The full force and carnality of the sexuality in Lawrence's Lady Chatterly is somewhat more muted here but it is the questioning of the trueness of love and the inclusion of same sex relationships that helps this to still be as thought provoking and stimulating. Plus, the performances are fine and the photography excellent with the direction faultless. Runs longer than stated on the box and one wonders if in fact it was ever shown uncut in the cinemas.

This film seems to get better the more I go back to it. Close to the source novel for the most part (the one big divergence being in the Water Party section but in the sense of the film the change is acceptable and gives a disturbing gloss to the story) and with sequence after sequence of powerful images, it has been much misunderstood and often dismissed but I would hope in time it is given the credit it deserves. 8/10

By it's mere cinemagraphic style and on screen personalities, this film introduced me to the idea of the avant-garde, existential and 'esoteric ritual' perspective of ordinary events. Their true mystery. For me, the style of the film went far beyond its content or dialogue. This film taught me the idea of an intelligent stylishness, and how erotic Glenda Jackson's character could be sheerly by virtue of her brilliant and cunning personal style. Pretty surprising, but then, seducing his audience in great new ways has been one of Russell's great talents. His films always seemed at the cutting edge, and I was seeing them 12 years later!

Can you imagine the effect this movie had in 1969? I is still ahead of the times. Merit, in great part, of Larry Kramer who adapted DH Lawrence's work in a way nobody else could have. Scrumptious, subversive, extraordinary. Director Ken Russell with some startling titles to his name - his BBC production of Isadora Duncan with a sublime Vivien Pickles in the title role, for instance - reaches here some kind of mountain top. Glenda Jackson became a household name, Alan Bates confirmed what we all knew, that he was one of the greatest actors that ever lived. I devoured the film with utter pleasure 48 years after its first released. Literature and cinema in an insanely beautiful alliance.