An unhappily married aristocrat begins a torrid affair with the gamekeeper on her husband’s country estate.
Chuck says:
Groundbreaking when released to the public in 1932, D.H. Lawrence’s “Lady Chatterley’s Lover” certainly wasn’t the first novel focused on a woman trapped by societal constraints. Yet, the graphic description of the sexual acts it contained and obscene language made it a lightning rod for controversy. And while these issues were responsible for the novel’s initial notoriety, shocking the public was not Lawrence’s sole intent. Perhaps the book’s most radical notion was its warning that individuality was the victim of industrialization, that the modern world was on the brink of eliminating humanity’s sense of self, as a whole and individually.
Unfortunately, the new adaptation by Laure de Clermont-Tonnerre is not focused on this still timely issue – our social media scourge taking the place of oppressive work conditions – as it only touches briefly on Lawrence’s greater concerns. No, the focus here instead is on the titular character’s quest for social independence as well as sexual and romantic satisfaction. In other words, it focuses on the good parts. That being said, as shot by Benoit Delhomme, the film is never less than visually arresting, contributing a glossy sheen to this oft-told tale.
As Connie Chatterley, Emma Corrin delivers a fierce performance, the actor convincing in the character’s moments of naivete as well as passion. Beginning at the end of WW I, we see her as an eager bride to Clifford Chatterley (Matthew Duckett), an officer in the English Army, as well as a nobleman in charge of the vast estate Wragby. It is here the couple returns to after the war, he wounded and paralyzed from the waist down, his wife, a sudden nursemaid.
Recognizing a kindred soul in Oliver (Jack O’Connell), a fellow veteran obviously affected by his war experiences, Clifford hires him as a groundskeeper, a decision he will come to regret. On one of her rambles through the estate, Connie stumbles upon his tiny hut, the allure of hatching pheasants drawing her in. It doesn’t take long for her to return to Oliver’s home again and again, the tiny birds no longer the reason for her visits.
No punches are pulled in portraying the torrid affair that consumes them both. It’s to Corrin and O’Connell’s credit that they allow themselves to appear so exposed in these moments and while the passion they display is arresting, it’s the vulnerability each conveys that provides the film with its emotional foundation. The actors convince us they are helpless in the face of the emotions that plague them, and this is essential to our understanding why they act as they do.
Their relationship is the focus, any social concerns in Lawrence’s novel given only cursory mention. As a result, Clifford is reduced to nearly a minor character, his concerns not fully developed. Seeking purpose, he becomes involved in the local mining industry, promising technological advancements that will improve working conditions. However, Clifford’s true nature is revealed in only one scene, when he expresses a disdain for his employees, his only concern being the bottom line. This subplot and the character are criminally underdeveloped, a prime opportunity to explore Connie’s growing need to break free as well as reexamine the eternal divide between management and labor, wasted.
Equally underdeveloped is the character of Mrs. Flint (Ella Hunt), the village schoolteacher who initially provides background on the mining situation as well as the economic state of the town to Connie. Mother to a newborn, further scenes with her would have provided a nice counterpoint to the titular character’s dysfunctional marriage, providing her with a greater and more logical impetus to leave.
Still, there’s no doubt that what’s on the screen is very well done. To be sure, story-wise there’s not much new here but Corrin and O’Connell’s fine work, as well as the sumptuous visuals, makes it worthwhile. Ultimately, “Chatterley” proves to be a potent reminder that a sense of daring is necessary to avoid a lifetime of regret.
3 Stars
