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Lady Chatterley's Lover (1981)

Lady Chatterley's Lover (1981)

Sylvia KristelShane BriantNicholas ClayAnn Mitchell
Just Jaeckin


Lady Chatterley's Lover (1981) is a English movie. Just Jaeckin has directed this movie. Sylvia Kristel,Shane Briant,Nicholas Clay,Ann Mitchell are the starring of this movie. It was released in 1981. Lady Chatterley's Lover (1981) is considered one of the best Drama,Romance movie in India and around the world.

A film adaptation of D.H. Lawrence's novel. After a crippling injury leaves her husband impotent, Lady Chatterly is torn between her love for her husband and her physical desires. With her husband's consent, she seeks out other means of fulfilling her needs.

Lady Chatterley's Lover (1981) Reviews

  • British Bourgeoisie Society & Double Standard for Women's Sexuality


    1981 VHS & 2005 DVD are based uponby British novelist D.H. Lawrence's last (1928). In it's time, "Lady Chatterley's Love" was (re)viewed as "sexually scandalous"; so much so, D.H. Lawrence suffered continuously due to charges of obscenity. Like the (1928) novel, the (2005) DVD contains direct depictions of different-gender adulterous sexual intercourse. Many 'obscene' (at least for 1928!) sexual words are part of Lawrence's novel & the screenplay. As a result, the novel upon which the movie is based wasn't fully published in Britain, though it had long been available in other countries. During the 2nd half of the 20th century, in 1960, Penguin books bought out the expurgated edition & was summarily prosecuted for violating the Obscene Publication Act of 1959! Even the trial was scandalous; though, the publishers prevailed & were acquitted. Their acquittal has been viewed by academic literary & cultural critics to this day as a catalyst for the new freedom of literature & artistic expression. Some critics have regarded Lawrence as the greatest British man novelist of the early 20th century (Virginia Woolf, the woman). On to the film: it is equal to the novel in its sexological study of a paralyzed Sir Clifford Chatterley, who strongly advises his wife, Lady Constance Chatterley, to find a lover for herself in order to satisfy what Sir Clifford cannot ever give her, or so he thought: sexual fulfillment. (That belief would seem quite naive now since a wide variety of sexually satisfying techniques do not require a man who is paralyzed to be fully functioning! What is sexual & what is sexual satisfaction & pleasure has measurably changed since 1928). Lady Constance Chatterley reluctantly takes her husband's advice, being quite young & beautiful. But, after beginning a very sexually intense affair with a proletariat man, Mellors, their butch & brawny country gamekeeper, Lady Chatterley's affair shocks her husband who suggested it & the high society in which they take part. It is definitely not a movie for children because the sexual content is steamy & blatant. By contemporary standards, it is still a story of a scandalous love affair with an interesting plot; but, certainly the movie is not pornographic or unusual ("Asylum" is somewhat similar, for example). It is as much a sexology of 1920's British social class mores as anything else. Because it is a period piece that does examine an era & the moral standards of a particular class of a society, it is a more than notorious for its history of scandal: "Lady Chatterley's Lover" is loaded with Lawrence's observations & remarks about the mixture of mores for British bourgeoisie society & its double standard for women's sexuality.

  • Connie Loves Ollie...


    Though D.H. Lawrence's scandal-fueling 1928 novel, which was not legally available in its country of origin until 1960, has been adapted for the screen on many occasions since respectable stick in the mud Marc Allégret made a first attempt as long ago as 1955 with less fire than ice Danielle Darrieux, it wasn't until the equally non-British Pascale Ferran shot a highly literate version with the magnificent Marina Hands critics consensually agreed the book had been done cinematic justice. While a considerable commercial success when theatrically released in the early '80s, Just Jaeckin's much-maligned rendition has rarely been deemed worthy of comment since. Large part of the problem for high-minded reviewers remains the fact that so many involved on both sides of the camera are just so…disreputable ! Rather fitting for a film based on literary material so long slandered as pornographic and since that took three decades to rehabilitate, perhaps the movie might expect a similar fate by now ? Produced by the Cannon Group, effectively Israeli-born schlock-meisters Menahem Golan and Yoram Globus, and directed by the guy who drew huge crowds yet public disdain with such up-market porn as EMMANUELLE and HISTOIRE D'O, it had some major hurdles to overcome if it wanted to become a critic's darling. While the Go-Go Twins, a nickname coined by Michael Winner, probably couldn't care less about such fate, this was clearly more of a concern for Just Jaeckin, craving respect in the wake of top-grossing titillation. Alas, it was not meant to be. Casting Dutch actress Sylvia Kristel, who – like Jaeckin – could not escape the curse of EMMANUELLE, in the lead role didn't help. Though dubbed in plummy British dulcet tones, she's actually quite good playing constricted Constance Chatterley, deeply in love with war-paralyzed husband Clifford (a rather unctuous Shane Briant, who had made an impact in Hammer's DEMONS OF THE MIND and CAPTAIN KRONOS, VAMPIRE HUNTER) but physically yearning for the satisfaction only hunky grounds keeper Oliver Mellors (the late lamented Nicholas Clay) can supply. Movie's actually a lot closer to the book, a "hot property" if ever there was, than those who have never read it assume. An intimately detailed account of romance as product of overwhelming sexual attraction, it didn't exactly need "juicing up" to qualify as source for an overtly erotic film. Initially intended to be made by the outrageous Ken Russell (who wound up doing a disappointingly bland TV version with Joely Richardson and Sean Bean a decade later) with Sarah Miles and Oliver Reed slated to portray the single-minded protagonists, the eventual outcome was quickly written up as a sell-out to crass commercialism by the kind of ivory tower print journalists who are now receiving their just desserts courtesy of the Internet. They did not pay attention to the faithful screenplay provided by Jaeckin, regular Hammer scribe Christopher Wicking and American author Marc Behm, who wrote "The Eye of the Beholder", filmed by Claude Miller (as MORTELLE RANDONNEE) and Stephan Elliott under the original title. They casually overlooked Shirley Russell's sumptuous costumes, dating back to when it was still her husband's project no doubt, and the splendid sets by a then fledgling designer named Anton Furst, who had the last laugh garnering well-deserved kudos for his outstanding work on Neil Jordan's COMPANY OF WOLVES and Tim Burton's BATMAN. Pressed for praise, they were willing to concede that the efforts of cinematographer Robert Fraisse (Oscar-nominated for Jean-Jacques Annaud's THE LOVER) and composer Stanley Myers worthy of minor consideration, though both were thought of as "slumming" it. Okay, this is where I discard all pretense of professionalism and possibly, where part of my respected readership's concerned, take leave of my senses. Having made a convincing case for the defense, I feel, I must admit that I profoundly love this movie for reasons that are entirely personal. Picture if you will, an anxious 14-year old boy struggling with his sexual identity – I have since come out to myself and the world, thank you – being taken by his beloved and now sadly departed mother to see this film at the sort of humongous picture palace pre-dating the multiplex culture we know today. The extremely physical romance unspooling before my gazing eyes filled me with joy and longing as few films have managed since. Stuck in a loveless marriage, for which I don't blame my late father as they proved a poor match from the start by all accounts, my mom relished the vicarious thrill the flicks provided her with. Needless to say, we both adored this one, so much in fact, and I can't believe I'm making this public but you will soon find out I have no shame, that we would call each other "Connie" and "Ollie" ever since until her untimely passing in February 2003. I developed a major crush on Nicholas Clay. He had caused a stirring in my loins playing Lancelot in John Boorman's magnificently overblown Excalibur but now the lid was off entirely. As a starry-eyed gay teen, I vowed to keep myself chaste until we could be together. Oh, my resolve weakened – or was weakened for me – within a couple of weeks or so and I grew into the slut beloved by many to this very day ! So, this movie's all about coming to terms with my growing attraction to members (ha !) of the same sex. It's also about my mother, invariably the most important woman in most gay men's lives. Six and a half years since her death and still not a day goes by that she's not in my thoughts. I love and miss her very much and watching this film – praise the Lord for DVD – makes me feel that little bit closer to her whenever I need to, just like this particularly odd review is my perhaps wrong-headed attempt at a tribute. Go softly into the night, my Queen, and God bless…

  • Lady Chatterley's Lover


    I love this film. I own it on DVD. The reason I give it ten points out of ten is that it has the incredibly sexy and talented Nicholas Clay in it. He plays Oliver Mellors, the gamekeeper of an estate, that is having an affair with the lady of the house. She is married but her husband cannot do his husbandly duties because he came back from World War 1 in a wheelchair. She is an upper class rich woman while he is considered low class and poor. She doesn't work and in the beginning tends to her husband until he decides to get a caretaker for himself. This leaves her with time on her hands to wander the grounds of her estate where she comes upon Mellors nude and bathing himself by the chicken coop. She lusts after him and they strike up a relationship although rocky at first. The have a passionate affair. I won't reveal the ending. I truly believe this is Nicholas Clay's finest work although he is probably known best as his role of Sir Lancelot in Excalibur (he is naked in that movie too). I think this version is best. Lady Chatterley was made into another film in 1993 starring Joely Richardson and Sean Bean but no one compares to British hottie Nicholas Clay.

  • Patched-together B-movie is more interested in lust than passion...


    From the makers of "Emmanuelle: The Joys Of A Woman"...not exactly D. H. Lawrence territory, is it? Still in all, this low-budget sexcapade has decent locales and very steamy leads (Sylvia Kristel and Nicholas Clay), neither of whom are shy about appearing in the buff. It is noteworthy that this is one of the few R-rated movies from this period to show the man undressed as well as the woman, and their sex in the forest has animal heat to it. But those looking for an adept cinematic translation of the famous novel will be embarrassed...and perhaps even slightly amused. The weakest link is the editing, which darts around leaving scenes unfinished, such as the finale (which is really just a bushel of footage posing as an ending). However, on a soft-core/harlequin level, "Lady Chatterly's Lover" isn't too bad. **1/2 from ****

  • Tawdry crap unworthy of D.H. Lawrence.


    The plot of D.H. Lawrence's famous novel of passion and mores is lifted mostly intact, but everything has a dumbed-down and trashed-up quality that makes the resulting adaptation anything but faithful. Sylvia Kristel once again proves inadequate to the task of carrying a movie, and what's more looks much older than her real age (28), as well as that of the even younger character Lady Chatterley. Instead of smoldering with forbidden passion, she seems listless and uninterested in the affair that is central to the story's power. Nicholas Clay also seems unconvincing as the virile but coarse Mellors. Why he would be the object of romantic fascination for any woman of class seems a mystery not worth investigating. The pastoral look of the film is pretty nice, plus it also features good period detail and costumes, but the script is extremely weak and the dramatics - especially among the supporting performances - are just not sharp enough to properly drive a story of class betrayal and social scandal. Approach with extreme caution.


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