| Cast overview, first billed only: | |||
| Alan Bates | ... | Rupert Birkin | |
| Oliver Reed | ... | Gerald Crich | |
| Glenda Jackson | ... | Gudrun Brangwen | |
| Jennie Linden | ... | Ursula Brangwen | |
| Eleanor Bron | ... | Hermione Roddice | |
| Alan Webb | ... | Thomas Crich | |
| Vladek Sheybal | ... | Loerke | |
| Catherine Willmer | ... | Mrs. Crich | |
| Phoebe Nicholls | ... | Winifred Crich (as Sarah Nicholls) | |
| Sharon Gurney | ... | Laura Crich | |
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Christopher Gable | ... | Tibby Lupton |
| Michael Gough | ... | Mr. Brangwen | |
| Norma Shebbeare | ... | Mrs. Brangwen | |
| Nike Arrighi | ... | Contessa | |
| James Laurenson | ... | Minister | |
The battle of the sexes and relationships among the elite of Britain'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 The more withdrawn Gerald cannot, finally, connect with the demanding and challenging Gudrun.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 alfiehitchie
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.