Blueghost
Wow. I really dislike slow moving romances, but the amount of artistry that was injected into this production, and the rendered result is just pure art in every sense of the word.Every shot is an oil painting. I don't know what it is about the French and their history with art that makes them such masters, but not a single strip of film was wasted here. The lighting, the costumes, the camera angles, and composition of the frame and music, really were just given such care that it's a wonder this film hasn't gained more notoriety among D.H. Lawrence enthusiasts.Then there are the sex scenes. Yes ladies and gentlemen, there is sex in this film, though it's rendered with a very gentle brush stroke by a master painter of film. There is nothing tawdry in the nature of the sex other than the fact that the couple is bucking societal convention. To find out what I mean, you have to watch the film.This is a story about a woman's wants and needs. Whom she married because modern convention pushed her in that direction, and what she really wanted because her innate nature and the man in question succumbed to proper instincts.One man has societal power and wealth, but cannot care for himself without the assistance that his wealth affords. Another can withstand adversity after adversity, and like so many men, prefers, prospers, and even thrives when he's alone. One is the master of men. Another is the master of himself, and cares for no other. Ladies, which do you prefer? Which do you say you want, and which one fires your heart, body and soul? That's what this movie is all about. On an even more intellectual level both males have a kind of female inner psyche working for them. One gains the world, the other gains something else.I have two regrets about this film. Firstly that there are a couple of pans (and one awful zoom) that come lose to derailing the flow of the movie. But as visually jarring as they are, they pass quickly. Like a B-movie producer/director once told me, America makes the best dollies and tripods for professional movie cameras, and that is an unchallenged truth. If you look at any foreign film, and compare the camera moves with American movies, you'll note that American films have very smooth dolly shots, Steadicam shots, and the now occasional rare pan. Foreign films are still playing catchup, even for this film which was shot only ten years ago! Secondly; I streamed this film off of Amazon, and it is not a high definition transfer with muted colors. The colors I'm thinking were a creative choice of the director and cinematographer, and they may have even used a soft lens or a soft filter in front of the lens to add that bit of visual texture to give this film an even softer touch and intimate feel. Even so, I wanted to see more information on the screen, but whether it was the creative team being artistic or the limitations of the technology, I'll never know until I see this thing on bluray.Here's the thing; I was forced to read D.H. Lawrence in high school, and hated his writing. It was slow, lethargic, seemed to cater to over emotionalism, and just downright boring as hell when compared to some of the sci-fi authors or military fiction authors I used to read (and get more out of), but this film (and the French really do love Lawrence) very much delivers a film maker's film. And, as usual from French cinema, gives us a character study of the gentler side of human nature. What is, what we'd like, and what ought to be.I don't recommend this film to anyone who is not a cinema aficionado. If you like heavy psychology and films about how a trist can be mistaken or evolve into love, then this film is for you.Otherwise, maybe give it a shot and see what you think.Enjoy.
movedout
Pascale Ferran's "Lady Chatterley" arouses the intentions of an intellectual mind rather than the consummate capitulations to the cataract of passion, and other sensual stimuli. Arriving with a brag sheet that includes five 2007 Cesar Awards, including ones for Best Picture, Best Actress, and Best Photography, the Ferran's overreaching adaptation of D.H. Lawrence's "John Thomas And Lady Jane", clearly has pedigree and an elegantly realised French sensibility. But there has to be something said for its lack of transgressions, an unwelcoming throwback to the days of muddled visions of carnal congress that was better served by the imagination in bodice-ripping erotic literature. Even by the nature of its anti-revisionist material and its ideas of sexual awakening as a process that by extension has to entail bridled fervour, the film's divisions are so neatly devised that there's nothing left for us to react to in its hollow exercise in ardent romanticism.
WilliamCKH
I really love this film. I'd never read Lawrence's novel but feel absolutely compelled to now after watching this film. The director, Pascal Ferran, has created a work of art, putting this beautiful story into film and the leads, Marina Hands and Jean-Louis Coulloch, are perfect as Constance and Parkin. It is a slow moving film and it last for more than two and a half hours, but it is quiet and fresh has an adult innocence about it. The last scene where Parkin tells Constance that he can live anywhere, in anyplace, in any house because they are not home, she is his home, and how she swells up in tears and tells him that she doesn't mind if he sees other women,"if your heart remains gentle, you'll always be with me." That last scene really touched me. I'm glad it garnered so many awards. Marina Hands was absolutely stunning in her portrayal of Lady Chatterley, Bravo!!
