Cast overview, first billed only: | |||
Marina Hands | ... | Constance | |
Jean-Louis Coulloc'h | ... | Parkin | |
Hippolyte Girardot | ... | Sir Clifford Chatterley | |
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Hélène Alexandridis | ... | Mrs. Bolton |
Hélène Fillières | ... | Hilda | |
Bernard Verley | ... | Sir Malcolm | |
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Sava Lolov | ... | Tommy Dukes |
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Jean-Baptiste Montagut | ... | Harry Winterslow |
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Fanny Deleuze | ... | Tante Eva |
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Michel Vincent | ... | Marshall |
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Colette Philippe | ... | Mrs. Marshall |
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Christelle Hes | ... | Kate |
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Jade Bouchard | ... | La jeune bonne |
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Joël Vandael | ... | Field, le chauffeur |
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Jacques De Bock | ... | Le médecin (as Jacques de Bock) |
Sir Clifford has returned from the Great War to his estate near Sheffield, paralyzed from the waist down. Lady Constance, his young wife, cares for him, but she's lifeless, enervated. Her physician prescribes the open air, and she finds a quiet retreat at the hut - the workplace - of Parkin, the estate's gamekeeper. The rhythms of nature awaken Connie - daffodils, pheasant chicks - and soon she and Parkin become lovers. She's now radiant. Parkin, too, opens up. Class distinctions and gender roles may be barriers to the affair becoming more. Connie's trip to France, with her father and sister, bring the lovers to a nuanced resolution. Written by <jhailey@hotmail.com>
I think DH Lawrence would be proud of this film...Pascale Ferran transformed this story we all imagine as an erotic cliché in a very sensible and sensitive movie. Because Lady Chatterley is not the story of a more or less sex-addict bourgeoise we have seen in so many rubbish erotic movies, inspired by the novel. It is much more about a woman who discovers the materiality of world threw a love story. She discovers also that "some people are not naturally made to command others" and in a way her love story with Parkin is a truly waking up to other people and life around her. She discovers her body and the world of the first industrial revolution has it used to be: unfair and unequal. Lady Chatterlay is not only an erotic story but also a very politic and subversive one. DH Lawrence is well known for being very critical about the British society of 1920's and the human side-effects of industrial development. Pascal Ferran perfectly understood the deep meaning of the novel. Moreover, she transmuted those ideas in a very french movie (but in fact the best french author cinema). The way she has filmed the two characters is very intimate but never silly, and that's a great achievement! In a way, her style is very closed to Piala's one. Harsh and poetic at the same time, precise and evocative, sensible and sensitive. This film is very precious!