entertainment

Lady Chatterley’s Lover (2022)

Lady Chatterley’s Lover2022.

Directed by Laure de Clermont-Tonnerre.
With Emma Corrin, Jack O’Connell, Matthew Duckett, Joely Richardson, Ella Hunt, Faye Marsay, Nicholas Bishop, Anthony Brophy, Eugene O’Hare, Rachel Andrews, Jonah Russell, Sandra Huggett, Ellie Piercy, Rachel Pedley, Zoé Wallon, Marianne McIvor, Holly Dennis and Christopher Jordan.

SYNOPSIS:

An ill-married aristocrat begins a torrid affair with the gamekeeper of her husband’s country estate.

Barely knowing each other Lady Chatterley’s Lover begins, aristocrat Clifford Chatterley (Matthew Duckett) and commoner Connie Reid (Emma Corrin) marry. Almost immediately afterwards, Clifford is sent back to the Great War, where he returns injured with no leg mobility. It’s not yet a dealbreaker for Connie, who is sincerely trying to adapt her view of this marriage, taking on the role of both lover and caretaker. The latter sees her as feisty and optimistic about becoming more efficient at helping Clifford dress and undress. It might not be so bad after all.

As well as developing unfulfilled sexual cravings that Clifford has no interest in satisfying (which is somewhat ironic given that Connie’s wiser and protective sister has suggested he might only want to marry for fun) that he could at least try to meet regardless of being in a wheelchair (he could get creative about it if he wanted to, but only seems to care about sex when it comes to conceiving an heir), this new wealth of free time to get to know himself better in his field (along with new service personnel) also reveals that Clifford is a bit of a ruling-class jerk with no sympathy for anyone lower on the totem pole, especially the miners who break their backs daily in his name.

In what initially comes across as progressive and forward-thinking, Clifford suggests that Connie take a man of her choice for sex. However, there are a few caveats: her idea comes from a place of selfishness and desire for children, not caring about how it all makes Connie feel. He does not introduce something polyamorous to help his wife’s sexual frustrations, but plots for personal gain. Then he also lays down some ground rules about what kind of men it’s okay to sleep with while emphasizing that he wants to be kept in the dark about who they are. Nor can the man be game warden Oliver Mellors (Jack O’Connell), whom he considers a degenerate and below her economically and socially.

Ultimately, Oliver is charming, intellectual, attractive, and lonely for reasons that somewhat mirror Connie, bringing them together. It must be appreciated that director Laure de Clermont-Tonnerre (having previously worked on an underrated drama about the links between horses and prison) The Mustang) and screenwriter David Magee (a smart move to adapt DH Lawrence’s novel, as he can channel his previous fable-centric work on projects like Finding Neverland in equally dreamy material though brimming with passionate sex here) takes time to build sexual tension, even if it gets to the point where these two are already begging for sex.

It’s not long before Connie and Oliver finally make love for the first of many times, at one point (exquisitely photographed by Benoît Delhomme), kissing naked on the grass as if they were Adam and Eve in the Garden of Eden (not that the film has any religious overtones whatsoever, just that these are the images that come to mind). What’s even nicer is that the filmmakers don’t hold back, allowing the intimacy to be steamy and graphic (the love starts out simple, quickly getting rougher and more risque).

After one of the aforementioned sessions, there’s also a brief glimpse of Connie laughing and happily helping Oliver get dressed, which is a subtle and ingenious juxtaposition to her efforts doing the same for her husband but inside a guard position. Some characters correctly assume that Connie is confusing sex with love, but at this point it becomes clear that maybe if Clifford focused on his happiness and needs while not being a heartless fool and ruthless to anyone below him, maybe she would be able to smile while dressing him the same. Or maybe it’s just a juxtaposition of love and lust. Either way, it’s undeniable proof that there’s a lot going on visually here, adding greater context to a relatively simple story of adultery.

It’s by no means perfect, as Clifford’s characterization always seems a bit too mean and one-dimensional. His hired caretaker, Mrs. Bolton (Joely Richardson, who previously played the lead role), is more than willing to take on the duties, only to be challenged because she’s not Connie. Meanwhile, Emma Corrin and Jack O’Connell sizzle with emotional complexity as Lady Chatterley’s Lover also explores the risks and the messages it sends to the general public if this true love story comes to light.

Some seem ready to shame Connie, while others see her as a woman willing to risk her privilege and social class for love. As for viewers, they should find themselves swept up in this steamy and convoluted tangle.

Scintillating Myth Rating – Movie: ★ ★ ★ / Movie: ★ ★ ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the editor of Flickering Myth Reviews. Check here for new reviews, follow my Twitter or Letterboxd, or email me at [email protected]

Source: www.flickeringmyth.com

Source : BBN NEWS

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