O Amante de Lady Chatterley

This book and movie caused a great sensation in 1959 because it was considered pornographic. The book was not allowed to be read and the movie was not allowed to be shown in America. Finally, after a highly publicized court battle, the courts allowed the book and the movie to appear on the grounds of "artistic merit" and everybody went to see the movie. The content, about a married woman who commits adultery, is so mild by today's standards that the book and movie are largely forgotten. However, it was because of the court precedent set by "Lady Chatterley's Lover" that we are allowed to see and read almost everything today. Sam Sloan

With this film I confess I committed the greatest sin of all (when you are a true cinema lover, that is): I couldn't watch it entirely. Yes, I had to turn off my TV set after two thirds of Marc Allégret's "Lady Chatterley" -- something I am not really proud of, but forgive me, I couldn't stand it any longer.

Is there a need to tell the story in a few words? "Lady Chatterley" is probably the most famous adultery in literature (all right, all right, so I have heard about "Anna Karenina" and "Madame Bovary"!). To sum it up: Sir Clifford Chatterley, an impotent landowner, embittered by his injury in the trenches of World War I, virtually pushes his wife into an affair, but doesn't realize it's not with someone belonging to the same social class but with his common gamekeeper. The problem is that I have seen (and really enjoyed) Pascale Ferran's version shot in 2006, which is in my opinion a wonder. Allégret's "Lady Chatterley" cannot stand the comparison. Almost nothing works here. Although I usually enjoy Miss Darrieux's talent, she is terribly miscast in this film. She is believable as an aristocrat (haughty, snob, cold, etc.) but not at all as a woman who awakens to sexuality. I even wonder if she had any idea of the type of character she was playing. To put things in a nutshell: Miss Darrieux in this film is as sensual as a wood post -- it says it all. Then you don't believe a single minute that the story is set in England -- everything and all the people look so French! To make things even worse, most actors speak with a distinct Parisian accent (which was something common in French films until the end of the 50s), except Leo Genn who speaks French with an English accent, which is really odd within that context. Any coherence? Nope!!! Of course, the film strives hard to avoid overt eroticism, and by doing so, is often ridiculous and dull ("Lady Chatterley" minus all the sex? Nah!). If you really want to experience very old-fashioned nudity in a second-rate French movie, try instead "Ah, les belles bacchantes" ("Peek-a-boo") which was released the very previous year (1954) and which is almost as bad (but at least it was meant to be funny, and not only by accident!). And if you ever want to see a delicate adaptation of D.H. Lawrence's novel, watch Pascale Ferran's film instead -- please!

This first screen version of D. H. Lawrence's infamous 'Lady Chatterley's Lover' was released five years before the Regina vs Penguin Obscenity Trial of 1960 and is directed by Marc Allégret.

The trademark Gallic finesse for which this director is known is alas totally unsuited to the 'earthiness' of Lawrence's novel and one cannot help but wonder how some of his contemporaries, including his brother Yves, would have handled it.

Based upon a stage version of the novel its theatrical roots are all too apparent and even allowing for the censorship restrictions of the time this tame treatment does little justice to the original. Monsieur Allégret has avoided the erotic element and has instead chosen to concentrate on Lawrence's belief in the union of mind and body which is fair enough but for this viewer at any rate the result is anodyne.

There is no faulting the performances but the casting of Leo Genn as Sir Willoughby and Erno Crisa as Mellors simply stereotypes the phlegmatic Anglo-Saxon and the hot-blooded Latin. Having said that, Mr. Genn's portrayal of a deeply tragic character cannot fail to engage our sympathies whilst Signor Crisa is not merely a handsome hunk but possesses great sensitivity. For an Englishman Mr. Genn's command of the French language is impressive although some have found it to be incongruous in this setting. The film is essentially a vehicle for the splendid Danielle Darrieux who is luminous as Constance and whose sexuality is, as always, subdued.

Although hugely popular when released it has not stood the test of time and remains, like much of Marc Allégret's output, insubstantial.

If you're expecting the collieries and dukeries of north Nottinghamshire, no, this is a very Parisian version of D H Lawrence's landscape. The hunt, seemingly peopled by orchestral musicians, chases wild boar, the mines are remarkably clean and Wragby Hall is a chateau.

But don't dismiss this film - the themes of class, love and fidelity work in a French forest too, and a great piece of drama unfolds.

English actor Leo Genn plays the war-crippled Sir Clifford, his slow English accent increasingly infuriating as it signals a stubborn, chilling determination to maintain the class divisions of the hunting aristocracy ("The gong has gone for dinner and you haven't even dressed!"), and a dismissive indifference to the exploitation of workers and the landscape.

Lady Constance struggles to overcome her tenseness at being tutoyer-ed by Mellors, the manly gamekeeper (played by Italian Erno Crisa). But away from him her frustration shows as she restlessly rides her horse in circles. When Sir Clifford complains that she is late for the Pouring of the Tea, she snaps. "It's not a religious ceremony! The world won't collapse if I don't serve the tea!"

And if you're hoping for a bit of Bertolucci here, I'm afraid you'll have to do with the unbuttoning of the top button of Constance's blouse, but this is the wonderful Danielle Darrieux. Her expressions as she helps Mellor to push her husband's wheelchair through the woodland mud are sensuous enough for anybody.

Maybe , three sins define this adaptation:

• the feeling about see more an Marc Allegret film than a version of D. H. Lawrence. It seems than the novel becomes a sort of pretext for a fresco of noble people life and this noblety is pure French.

• the second problem - it is the film of Danielle Darrieux but she domains in so many measure each scene in a cold manner than Constance who you expect is just missing.

• the way to recreate atmosphere of novel is conventional. Sure, a good option for the role of Clifford but his accent is just eccentric in context of French of the others.

In short, a correct version, not memorable but honest one.

But, sure, fair option for the French old films admirers.