Lady Chatterley (Extended European Edition)

Quite superb. Lawrence's works do not easily lend themselves to the screen because so much of their value lies in his dense and poetic prose, as others here have pointed out. However, this film comes closest to capturing the essence of his message and perhaps even outdoes him in some respects, as the characters in this film are so such real and believable people, rather than literary symbols with impossibly rich and sensitive inner lives. It is indeed very long and exceedingly slow, by Hollywood standards, but it is never less than engrossing. Obviously, sex and sensuality and what they mean in human lives are at the heart of the story, so the film necessarily includes some nudity and non-explicit sex. One or two reviewers have implied that it could have been made without showing either, but then it would have not been Lady Chatterley. (The film is based on John Thomas and Lady Jane, an earlier version of Lawrence's better-known novel, Lady Chatterley's Lover.) In fact, the sex scenes could have been substantially more graphic without detracting one whit from the movie's considerable dramatic merits and might well have enhanced them, considering the source material. However, that might still be a step too far for most mainstream audiences. Finally, the performances are all good, but Marina Hands' is quite outstanding - never less than transparent, fluid, and utterly authentic. She is in virtually every scene and carried the film in a way that few, if any, other actors could. Jean-Louis Coulloc'h, as Parkin the gamekeeper, is monosyllabic until the very last few minutes, in which he suddenly reveals a depth of character and feeling that had scarcely been hinted at in the rest of the film. Bravo all round!

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!

Slightly ok remake of the “Lady Chatterley” series. Recommend watching Young Lady Chatterley and Lady Chatterley’s Lovers first as these are the originals.

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. There are about six sex scenes in this movie, and there is a sort of chronological development in the pair's affair that mirrors the progression of their feelings for each other - from the first almost clumsy and brief encounter to the development of closeness and eventually love.Marina Hands plays her role with consummate skill, from an almost naive and relatively inexperienced young woman to one who experiences a thoroughly sensual awakening and a liberation of senses. Jean-Louis Coulloc'h as the gamekeeper Parkin is credible as the rough yet gentle gamekeeper who is aware of the discrepancies in class between him and the lady of the house, yet loves with his body and soul.Beautifully filmed, "Lady Chatterley" mesmerizes with its in-depth characterizations and its sensual portrayal of a passionate love story that crosses the lines of class and rules of society.

I wasn't able to view it since I don't have a region-free DVD player. When I ordered this selection, I didn't see any mention. that I needed a certain kind of DVD player to view this . It might be a good idea if this was explained in more detail when ordering a DVD from another country.

Depuis les années 30, cette oeuvre est l'objet d'une calomnie ressassée par des critiques malintentionnés, il s'agit d'une très belle et très pure relation amoureuse entre une jeune personne qui veut vivre sa vie de femme avec l'homme dont elle est amoureuse.L'important pour les persifleurs est qu'elle couche avec un domestique , c'est inacceptable pour les tenants du rang social , d'où l'accusation de pornographie. Constance est une marie couche --toi- la, victime de ses pulsions , une hystérique ( de "utérus") et le tour est joué. ceci dit le jeu de Marina Hands est d'une sensibilité rare.

J'aime beaucoup cette version française.

事故で車いす生活を送っている旦那と別々の部屋で寝ているレディーチャタレー。ある日　林の中で花を摘んでいると物音が聞こえ　音の方へ行くと、鳥小屋を作ってる男がいた。寝たきりの旦那と違い、いつも外で作業している新鮮な男に惹かれ通うようになる　そして不倫の関係になり、、、、、、、、　この小説が裁判になり問題視されたが　読んだ感想としては、どうということは、ない。問題のお互いのアンダーヘアーに摘んできた花を挿すとこがいけないらしいがこの作品では、ちゃんと再現されている　有名な作品なのでぜひ文学作品の好きな方には、見てもらいたい。

Lawrence's famous story of Lady Chatterley and her lover is given a fine Gallic twist here (English names and place names, French language) by a French production team. The narrative is actually based on an earlier draught of the novel called John Thomas and Lady Jane, the title a veiled sexual reference in English slang that Lawrence was probably wise to change.Lady Constance Chatterley (played beautifully by Marina Hands, an Anglo-French actress) is pure, guileless, warmhearted and sensitive. These qualities deepen our interest in her the more we see and feel her isolation and loneliness at Wragby Hall, the estate of her husband Sir Clifford Chatterley. Her compassion for Sir Clifford, a former officer wounded and paralyzed in The Great War, is real. She attends to him daily by helping how she can, dining with him, reading to him, bathing him. She is, among other things, young, beautiful, feminine, gentle and patient. He loves to see her and be in her calming, cheering, charming presence. She knows this and accepts her role devotedly. He was disabled before she married him, so the role of supportive wife is evidently what she wanted.But time passes and a certain tension begins to build in her. Thereafter it also builds between them. The platonic love of devotion that she thought would sustain her gradually cannot. Her body is whole, healthy, fertile and voluptuous, whereas his is disfigured and emaciated. The cause of this tension is the presence of another man on Sir Clifford's property, the gamekeeper Parkin (known as Mellors in the final version of the novel). Parkin is Sir Clifford's opposite. He is virile and earthy. He has strong shoulders and hands. He chops wood, hammers nails, shoots rabbits and pheasants. Connie sees this and also sees his character. His stoic independence mirrors her own. He is self-contained and serene in his solitude. He seems genuine in his deference to her and never speaks meanly, coarsely. He is also sensitive, which she knows from seeing a clutch of young chicks he is raising. He treats them gently, even tenderly. If he cannot be a gentleman by the social standards of rank and class, he is one in spirit, and it is this — the spiritual, soulful and emotional — that Connie seeks and needs.Theirs becomes an unconventional love story by suggesting love can exist beyond rank, class and convention. This was the radical and honest thing Lawrence wanted to say. The French director here (Pascale Ferran) understands this. In Marina Hands he has found the luminous and transparent Connie he needed. Jean-Louis Colloc'h, as Parkin, is a more masculine prototype of Lawrence himself. Toward the end of the story Lawrence speaks from the heart when he puts this confession in the mind of Parkin to speak to Connie:”The thing is I can't be like other folk. I'm so unhappy when I can't be alone. When I was a child my mother kept calling me a girl. She said there was something in my character that was more like a woman than a man.”This is the author's self-portrait.Connie says to Parkin:“Why do you say this as if it were a weakness? It is not. You should be proud of being sensitive.”This is Connie loving Lawrence or a figure of him for the sensitivities she understands and appreciates in him.The true gentleman, Lawrence suggests, may be strong, virile and masculine (as Parkin is), but if he is not also kind, gentle, generous and tender (as Parkin is but Sir Clifford isn't), then he is no gentleman at all. Connie comes to understand this. It is not just that Parkin's body is whole and virile, that he might bring her the child she realises she wants (as Sir Clifford cannot); he is also spiritually whole, good and generous and sensitive in nature. He is greater than Sir Clifford because he can satisfy her in ways that the master of Wragby Hall cannot. Lawrence is unsentimental is saying so, and knows that honesty does not need sentiment to be true.

Objednala jsem si CD které mělo v popisu DE. Předpokládala jsem , že mi přijde z Německa. Bohužel mě kontaktoval Celní úřad s tím, že CD se musí proclít. Nechtěla jsem již tomu procesu investovat čas a ani peníze, tak jsem ho nepřijala. Mělo by být asi někde uvedeno, že se nejedná o zboží z EU aby lidé počítali s Celním řízením.