Love

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

This film is a masterpiece.

DH Lawrence has provided a wonderful story world for Ken Russell

to explore modern notions of romance, monogamy -- sex and the beast. Only the recent Thai film "Tropical Malady" has managed to grapple with these themes with such playful and erotic sensitivity. The sort of film which confronts the very notion of a moral fabric -- dangerous -- yet vital if audiences are willing to challenge their own notions of fairytale love, expectations for companionship and ultimately happiness.

The mismatched performance style (Glenda J's unusual mix of naturalism and

Brechtian facade -- is delightful when juxtaposed with Oliver Reeds hammy

closetted representational queer). Like "cAT ON A HOT TIN roof" this

performance contrast only serves to strengthen the academic rigour of the film's politics -- and ultimately serves as an emotional beacon to enlighten an

audience with an elusive mind.

Like "The Day of the Locust" -- this film is breathtakingly modern -- and before it's time.

This faithful adaptation by Ken Russell of one of D.H. Lawrence's best works is just as powerful & just as profound now, over 30 years after its initial release. The story is set in England a few years after World War I, at a time when many women of marriageable age were forced to examine their assumptions about relationships. When the Brangwen sisters complain about the lack of men, it's true. Many of the men who should have been available to them were lost in the war.

The film was made @ the dawn of the women's movement, once again a time when many women of a certain age were driven to examine their own assumptions about relationships, and looked to Lawrence (& then to Russell) for answers to questions beyond words.

This is not to deny the importance of the men in this story. Both Rupert & Gerald are drawn to the kind of women who ask these questions. Both of them have a myriad of other choices, but they're not satified by less.

So Russell finds a visual way to tell this story, & much of it would seem to be "over the top" were it not so obviously sincere & courageous. Glenda Jackson, a relative unknown at the time, won her first Oscar. We agree. She gives an extraordinary performance in a most difficult role: Gudrun is not likeable, but she IS honest.

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.

One of the best literary adaptations ever to grace the screen this wonderful movie does justice to Lawrence's novel but more importantly to his vision. The cast is magical bringing to life Lawrence's characters at perfect pitch. Alan Bates IS D. H. Lawrence/ Rupert Birkin and Oliver Reed, Jennie Linden and Glenda Jackson, who won an Oscar for her role, are superb. The script is excellent and draws on Lawrence's writings in addition to titled novel. For instance the scene where they are having lunch in the garden and Rupert (Bates) expounds on the fig fruit is actually taken from a poem by Lawrence called The Fig. It is little touches like this that really show the research and respect that went in to the adaptation. I don't know of a braver writer of relationships then Lawrence and this film is unflinching in its portrayal of every kind.