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Film versions of novels rarely gain everything good but this comes aesthetic halt. I especially like how effective the film is at conveying the importance of the body and physical sensation so indispensable in Lawrence’s writing. I judge a film can only attempt to explain what the book more specifically says so to the mind the book will always be preferred but with a writer like Lawrence film makes perfect sense. In fact Lawrences flaw is perhaps that he at times uses too many words when an image would suffice. So I savor that someone as visually courageous as Ken Russell made this film. I’ve seen it many times and always care for different things about it. Russell is usually equated with excess but here everything exists in fair the factual amount, nothing is overdone, he finds fair the honest diagram to direct literary converse without overly revering it and so framing it too neatly. Russell remains lawful to the book,and to his credit the scheme he injects the Lawrentian themes enlivens his characters, effect them seem even more notable which is no diminutive accomplishment and so the film never feels “literary” even though it is very literary in the best sense. To Lawrence esteem and any kind of relationship was always marked with struggle and restlessness because it could never be perfected. He was not involved in the bourgeoisie convention of marriage which domesticated admire into something else but in its truest most uncompromised status. So in this film Ken Russell gives us that. Not every detail of the whole tale but the primary feeling of worship as experienced by four very different temperaments and all four main characters are very different types indeed, and all react differently to passion and account for its meaning differently also. The most delicate scenes are the wordless ones when the characters close analyzing what their lives are about and allow themselves to simply inhabit their possess passion and instincts. I contemplate Russell is very just to Lawrence’s concerns, perhaps shares them, but articulates them in his possess visual plan which really makes this a kind of collaboration with Lawrence as some of the scenes have no precedent in the book. The characters all remain complex and moving and powerful remains unresolved because it is unresolvable. He also did a version of Women in Love’s companion recent The Rainbow which is only about half as expedient.
One of the most beautiful films and most sensuous ever made. I rented “Women in Esteem” years ago over and over again, until I gave up and finally bought a copy. I have grown attached to this film. Glenda Jackson deservedly won oscar for her portrayal as Gudrun. Cinematographer should have won too for his stunning photography.
When discussing this film with other film buffs, they maintain mentioning the “most” vivid scene, the nude scene with Alan Bates and Oliver Reed. I agree it’s shining and exotic, but there are others that are splendid, fine and unforgettable: 1) Jennie Linden’s nude scene with Alan Bates, circling gracefully around one another in a field while a attractive catch of music plays in the background. 2) Jackson’s dance and sparkling movement while reaching for a tree branch and slowly descending to the ground and relieve again, while Linden sings “Fine Bubbles”. 3) Linden’s reconciliation with Bates starting with “Contemplate what a flower I found you? ” 4) Jackson’s resplendent elongated eyes tedious a shroud putting on a costume in Switzerland while having an affair and Stravinsky plays in the background.
No matter how many times I contemplate this film, I accumulate novel fair discoveries. I pledge people to give this one a chance and I promise it will be worth while and rewarding.
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