The battle of the sexes and relationships among the elite of Britian's industrial Midlands in the 1920s. Gerald Crich and Rupert Berkin are best friends who fall in love with a pair of ... See full summary »
Wealthy Brice Wayne enters West Point and, though he does well on the football field, angers fellow cadets with his arrogance. Disciplined by the coach he yells "To hell with the Corps!" ... See full summary »
Tom Brown shows up at Harvard, confident and a bit arrogant. He becomes a rival of Bob McAndrew, not only in football and rowing crew, but also for the affections of Mary Abbott, a ... See full summary »
The battle of the sexes and relationships among the elite of Britian's industrial Midlands in the 1920s. Gerald Crich and Rupert Berkin are best friends who fall in love with a pair of sisters Gudrun, a sculptress and Ursula Brangwen, a schoolteacher. Rupert marries Ursula, Gerald begins a love affair with Gudrun, and the foursome embarks upon a Swiss honeymoon. But the relationships take markedly different directions, as Russell explores the nature of commitment and love. Rupert and Ursula learn to give themselves to each other; the more withdrawn Gerald cannot, finally, connect with the demanding and challenging Gudrun. Written by
Both Oliver Reed and Alan Bates were initially apprehensive about filming the legendary wrestling scene due to insecurity over who had the largest "member". Eventually, after both actors got drunk, compared sizes and realized there was little difference between the two, filming continued with relative ease. See more »
Do you know what it is to suffer when you're with a woman? lt tears you like a silk. And each bit and stroke burns hot. Of course, l wouldn't not have had it. lt was a complete experience. She's a wonderful woman, but l hate her somewhere. lt's curious.
You've had your experience now. Why work on an old wound?
Because there's nothing else.
l've loved you, as well as Gudrun. Don't forget.
Have you? Or do you think you have?
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Film versions of great books are expected to be lesser beings than their inspirations, but Ken Russell's adaptation of D. H. Lawrence's masterpiece refuses to obey any rules. It's smaller than the book, of course, but compensates by working on multiple levels to create a striking density. The gaudy, almost baroque cinematography actually compliments the sincere and subtle performances (even Oliver Reed!) to create a web of cross-references; every moment connects with every other. Kudos especially to the fine cast, not least Eleanor Bron, who forever cemented her cult status here, and is no mean hand with a paperweight, either.
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