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Movie

3.3 out of 5 stars 233 customer reviews


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$47.69 & FREE Shipping on orders over $49. Details Only 1 left in stock. Sold by francies fantastic films and Fulfilled by Amazon. Gift-wrap available.

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Product Details

  • Format: NTSC
  • Number of discs: 1
  • DVD Release Date: December 11, 2007
  • Average Customer Review: 3.3 out of 5 stars  See all reviews (233 customer reviews)
  • ASIN: B000WOQKAI
  • Amazon Best Sellers Rank: #561,141 in Movies & TV (See Top 100 in Movies & TV)

Customer Reviews

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By Grady Harp HALL OF FAMETOP 100 REVIEWERVINE VOICE on December 6, 2007
Format: DVD
DH Lawrence's novels may be tough to translate to the screen, so much of his writing is dependent on the words on the page as they form images of extraordinary beauty and sensuality. His novels are quintessentially British and reflect on the dehumanizing effects of modernity and industrialization, confronting issues relating to emotional health and vitality, spontaneity, sexuality, and human instinct. During his lifetime he was even labeled a pornographer, but that was then and now is now, and under the gifted guidance of director/writer (with Roger Bohbot and Pierre Trividic) Pascale Ferran, Lawrence's exquisite tale of sexual awakening has found what for this viewer is the finest transition of the novel to the screen.

The place is England after WW I and Sir Clifford Chatterley (Hippolyte Girardot) is the paraplegic wealthy husband of Constance/Lady Chatterley (a radiant Marina Hands). Quite apropos for the era, Constance tends to her impotent husband, does needlepoint, and takes walks to while away her boredom. On one of her walks she encounters the gamekeeper Parkin (Jean-Louis Coullo'ch), seeing a partially nude man for the first time in her life. The impact awakens her somnolent sexuality and she manages to visit Parkin daily, gradually allowing her lust to unfold. Parkin is 'below her class' but is a masculine, sensuous embodiment of everything Constance has never experienced. They slowly bond and both of them become passionately in love, finding lovemaking in Parkin's hut, in the woods, in the rain - wherever they encounter. Constance wants to have a baby and convinces Clifford that she can become impregnated and the resulting child would be 'Clifford's' by pact.
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Pascale Ferran's LADY CHATTERLEY is an exquisitely wrought film. The themes of the Lawrence novel frame the film, but Ferran seems to have put together her own very contemporary treatment despite the literary and time period setting. The photography is breathtaking and is integral to my characterization of the film as "exquisitely wrought." The first part of the film moves very, very slowly with almost no dialogue as the luxurious expanses of the country landscape are defined along with the formal and aristocratic settings of the Wragby estate. The obsession, both photographically and from a time duration standpoint, with the landscape serves a significant two-fold purpose---establishing Nature as a primary element in this world and reinforcing the beauty/sensuality of that Nature. That becomes a critical underpinning to the orchestration to the unfolding of the very sensual and sexual relationship of Constance and the Gamekeeper Parkin. If there was a weakness in the film, it would be the concluding section of the film which seemed more simply a patchwork of ideas and actions and not the carefully orchestrated ever increasingly complex visual and thematic development of the first half to two-thirds. However, the ending left everything up in the air as concerns the future of their relationship which I thought was a masterful stroke. There was no smug Hollywood resolution in either direction nor did Ferran give it a particularly French "affaire de passion" resolution. The ending seemed very realistic and "now" and in that sense probably departs from Lawrence in the most dramatic way. This is a must see film!
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Format: DVD
A very beautiful interpretation, with a slow, emotionally honest exposition. Makes one feel as though looking at Lawrence's novel quite afresh, without all its encrusted history of sweaty-palm controversies. It is situated very convincingly in its era (1920s), at a point of openiing up against the sexual restrictions of its class, society and period. It shows the slow discovery of the possibilities of reaching for sexual passion and physical satisfaction - especially for the woman (after all, the title of the movie is: "Lady Chatterley", without the "lover" of the book.). This is done without any prudish voyeuristic clichés, or romanticized imageries, yet, at the same time, fully engaging with all the power of sex and sensuality, and not avoiding looking at man's and woman's nudity. The acting is wonderfully restrained and subtle, mostly through looks, gestures, and the characters' postures and movements.
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Though my favorite adaptation of D.H. Lawrence's "Lady Chatterley's Lover" is the 1992 version with Joely Richardson and Sean Bean playing the lead roles, this 2006 French adaptation is well-done too. I just felt that in adapting it in French, the finer nuances of D.H. Lawrence's original English was lost. The movie is also rather long, clocking in at almost three hours [the first hour was extremely slow-moving] and could have done with some editing.

Anyway, in this adaptation, the director Pascale Ferran has adopted an earlier, less scandalous version of Lawrence's work as her source, focusing instead on sex as a catalyst that brings about major changes in the two leads. Lady Constance Chatterley [Marina Hands who went on to star in The Diving Bell and the Butterfly] is an oppressed young wife whose WW I vet and crippled husband, Clifford [Hippolyte Girardot] is unable to fulfill his wife's physical or emotional needs. He moves them to his country estate, Wragby where Constance feels lost and bored. Things change when Constance comes upon the half exposed [waist up] gamekeeper Oliver Parkin [Jean-Louis Coulloc'h] and fascinated, she contrives situations where the pair meet and eventually begin an affair. The sex scenes are very sensual, focusing not so much on the pure gyrations of the act but also on the facial expressions on the two people involved. Both actors really get into their roles, and their vivid facial expressions, especially Marina Hands', convey not just pleasure, but also the dawning realization of the power of sex.
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