andrewbanks
It is interesting to compare this British television mini-series based on D.H. Lawrence's novel with the 2006 French film version. Both are quite faithful to the book, the main differences are that this version replaces the books indeterminate ending, which is retained in the French film, with a happy ending, and in the French version, Sir Clifford Chatterley is snobbish and condescending, whereas in this British version he is downright arrogant and nasty.The main plus points for this production are the performances of the leading players and the excellent production design. Joely Richardson is very good as Constance Chatterley and Sean Bean is excellent as Oliver Mellors, and James Merifield's production design is a great asset to this mini-series. Merifield is a very talented production designer. His other credits include the 2008 BBC1 'Sense and Sensibility', one of my favourite Jane Austen dramatisations.Ken Russell has also directed film versions of 'Women in Love' and 'The Rainbow', so he is clearly a great admirer of D.H. Lawrence. I think D.H. Lawrence was well served by this dramatisation of his most famous novel.
Heidi Shanklin
As my mother used to say, "The man can read the phone book and I would be satisfied." A truly masterful performance for all involved. I did not even know this existed until recently and I sat to watch it in one sitting. Joely Richardson and Bean exuded the passion which was present, even more than in the books. And I loved Shirley Anne Field's Mrs. Bolton. It appeared as though she truly wanted Connie's happiness, or perhaps she just wished to have the master under her thumb, but either way, it was a stellar performance.And Sean Bean...Oh, my. I have followed his career since seeing the Sharpe's episodes and in everything he is in, he takes the part and makes it his own. A simply wonderful effort and a beautifully touching love story.
altyn
I found it too long and very different from the shorter Ken Russel works I know. His theatrical films have a gift of visionary concision which is utterly incompatible with a 3 1/2 hrs TV production. Connie's dream says much more about her than her visit to Clifford with only her face covered. I kept feeling that Russel was conveying all that was significant in a few short scenes and that most of the remaining screen time was simply decorative, exemplified by Connie and Hilda's tango: pure exercise in style. Some moments can even be enjoyed, but a film lover smells too many rats. Then the ending is so "B-movie", I start to suppose Russell was sneering at his TV audience. There is a feeling of tiredness throughout the film and you are constantly reminded that the plot is so well known, there isn't much to expect in the way of surprises. So you start to make amends... which is what you happens when you are trying to make the best out of something not really satisfactory. This is pleasant but not outstanding TV fiction. A pity that I had been expecting a typical Ken Russel work.
sharlyfarley
Having read the book in high school, I thought I knew pretty much what I was in for, especially with Ken Russell at the helm. Joely Richardson is a pretty thing, and manages some sympathy for Connie - who just wants to be a decent human being. I was too often aware I was watching her Act, especially when naked. It couldn't have been easy. James Wilby had pretty much perfected the upper class twit, though the vitriolic nastiness he brings to Chatterley is probably the acme of his career. Special mention should be made of Shirley Anne Field's performance as Mrs. Bolton - the nurse who understands Everything - and conveys so much to us without a word. It's a truly marvelous performance.But the movie belongs to Sean Bean, who gets his teeth in and doesn't let go. Nobody does bitter passion like Bean. He's less affecting in the love scenes than when he's simply trying to defend himself - His lady has no idea what a spectacular risk he's taking. Imagine the conflict is not class but race, and you'll get an idea. "Tar and feathers" was not a joke. The class divisions are laid out, but there's nothing like the sight of him shoveling coal to bring it home. And it's either break his back or starve. On top of all that, he found himself genuinely in love, which was still more frightening. Bean gives it all to us...His fears, his courage, his joys and his humiliations...no actor could be more naked than that.There's a reason the book was called "Lady Chatterley's Lover." Lady Chatterley had Lawrence's sympathy, but the lover was his hero. Shifting the emphasis to her doesn't quite work. It would be more damaging if Bean wasn't so forceful.I didn't expect to be so moved by this film. They even got the flower scene right. Lawrence's Mellors was a bit of a bully, too, and that left poor Connie choosing between jerks. Russell gives Connie -- and us -- a much better choice. And I was pleased with the altered ending. Lawrence's vision was awfully bleak, and had no room for Connie to grow up. It makes all the difference.
AD
