LADY CHATTERLEY
France, 2006, 168 minutes, Colour.
Marina Hands, Jean- Louis Coulluc'h, Hippolyte Girardot.
Directed by Pascale Ferran.
There have been some expressions of surprise that a French company should film D.H. Lawrence’s Lady Chatterley’s Lover – but few English speakers have any qualms when Americans or the British film Madame Bovary, let alone Les Miserables. This French version is very well made, an intelligent interpretation of Lawrence and his world and world-view.
One of the difficulties is that naming the novel or even Lawrence brings up the obscenity trial in the 1960s – which in view of what has happened in terms of availability of novels and magazines let alone films and television, seems a bit quaint.
In fact, Lawrence wrote three complete versions of his story. The third was the centre of the trial. This film is based on the second version, a more straightforward telling of the story, called John Thomas and Lady Jane.
It is to the credit of the writer-director Pascale Ferran that she avoids any sensationalist or squalid presentation of the novel. It is frank and visually explicit (though not verbally) but appropriate to the context of the plot and characters.
This is the story of Constance Chatterley, married to Sir Clifford who has been injured in World War I – the film opens with a dinner party where the guests discuss the injuries and deaths in the war. Connie lives in the Chatterley mansion away from the town, isolated and lonely in the countryside. The film takes some time in helping the audience understand Connie, quiet episodes of her domestic life, moments by herself, quietly tense moments with Clifford.
It is then that she takes a message to Parkin the groundkeeper. He is a taciturn loner. However, as Connie continues to encounter him, she is sensually attracted to him and he responds to her. There are several scenes of sexual encounters where the emphasis is on the total response of each, not simple groping lust. The early encounters focus principally on Connie’s face to appreciate what is happening to her. As the liaison continues, each of them becomes more loving, more committed and freer in the expression, less inhibited. Lawrence’s moral framework is one of ‘freedom’ but he firmly believed in a total experience of sexuality: bodily, sensually, emotionally, even spiritually.
Marina Hinds, beautiful but not glamorous, is completely credible as the lonely woman whose marriage has eluded her and whose world is opened by the relationship with Parkin. Jean- Louis Coulluc’h is a perfectly ordinary looking Parkin. Hippolyte Girardot effectively creates tension as Sir Clifford.
The film is beautiful to look at with a lot of Merchant Ivory detail in production design and décor. The subject is one that not everyone is comfortable with, but this is an illuminating treatment of Lawrence and his novel.
1.Audience knowledge of D.H. Lawrence? His background, writings, ideas? His attitude towards sexuality, sensuality, nature, freedom?
2.The various versions of Lady Chatterley’s Lover, the film based on the second version, more straightforward, less philosophising? The background of the court case? The film avoiding this kind of philosophising?
3.The French sensibility, towards an English novel, understanding the English and their stances, reticence, the discovery of sensuality, relationships, love and commitment? The visuals of the sexuality and the sensual – not prying?
4.The location photography, France standing in for Yorkshire, the house and the land, the visits to the town and the shops? The holiday in France – and the home movie style of photography?
5.The steady pace, the various chapters, the voice-over? Mrs Bolton and her final looking to camera to speak?
6.The introduction to Connie, visual, silent, alone, their farewell to the car, at table during the dinner, smiling and laughing, with Clifford, caring for him, reading alone, in her bedroom, naked at the mirror? Marina Hands’ interpretation of Lady Chatterley? Body language, facial expressions? Her taking the message to Parkin, the delivery, seeing him washing, waiting, the effect on her?
7.The dinner, the friends, English society, class? The discussion of World War One, the trenches, the cannons, injuries and deaths? Willpower? Not wanting to die? Clifford and his injuries, being confined to his wheelchair? The servants helping him? Connie helping him?
8.Connie talking to Parkin, relaxing at the hut, dozing, asking for the key, Parkin unwilling, Parkin as a loner? The discussion with Cliff about the key? Her getting the key? Watching the birds hatching? Comfortable in visiting, the tentative approach, his consent to the sexual liaison? The encounter and the focus on her face? Indicating the experience? The effect on her, her return, the contrast at home, with Clifford, going through the woods? The sexual encounter at the tree? The mutual sexual experience? Again her facial communication? The development of the relationship, their talking to each other?
9.The change in Parkin? His being more tender, willing, Connie thanking him? His masculine response and his innate sense of being male? The nakedness, the sexual encounter, in the rain, uninhibited, sensual freedom? The flower decoration scene? The progress from need, sexuality and sensuality to love, freedom, the issue of commitment?
10.The issues of commitment, Connie suggesting she could buy the farm, Parkin and his male response and wanting independence?
11.Cliff, his character, his way of life, the bitterness and memories of the war, talking, meals, tension? His hearing the rumours about Connie? The discussions about having a child, a surrogate child? His decision, his snobbish attitude towards the potential father? Connie going on the holiday, his fear that she would not return? His relying on Mrs Bolton, her place in the household, caring for Clifford? Marshall and the other servants?
12.Connie’s sister, their friendship, going on the holiday, stopping to visit Parkin before they left, the style of camerawork for the holiday, France, the Riviera, the importance of the letters, Mrs Bolton and the information, the pleasures of the holiday, swimming? The concern about Parkin, his fight, his wife, the divorce?
13.Parkin as a character, strong, silent, a worker? Working-class? Separation from his wife? The news about the fight, Connie and her curiosity?
14.Connie, her visit to the shops, going to see Mrs Flint and her baby? The effect of seeing the baby?
15.The return, her walk, Mrs Bolton and the news, the bond with Parkin?
16.The final conversation, her being pregnant, his still being a loner, the love and dependence, the uncertain future? The sudden end in mid-conversation?
17.D.H. Lawrence’s insight into human nature, sexuality, freedom? A French interpretation of Lawrence? For the 21st century?
