This film is a masterpiece.
DH Lawrence has provided a wonderful story world for Ken Russell
to explore modern notions of romance, monogamy -- sex and the beast. Only the recent Thai film "Tropical Malady" has managed to grapple with these themes with such playful and erotic sensitivity. The sort of film which confronts the very notion of a moral fabric -- dangerous -- yet vital if audiences are willing to challenge their own notions of fairytale love, expectations for companionship and ultimately happiness.
The mismatched performance style (Glenda J's unusual mix of naturalism and
Brechtian facade -- is delightful when juxtaposed with Oliver Reeds hammy
closetted representational queer). Like "cAT ON A HOT TIN roof" this
performance contrast only serves to strengthen the academic rigour of the film's politics -- and ultimately serves as an emotional beacon to enlighten an
audience with an elusive mind.
Like "The Day of the Locust" -- this film is breathtakingly modern -- and before it's time.
DH Lawrence has provided a wonderful story world for Ken Russell
to explore modern notions of romance, monogamy -- sex and the beast. Only the recent Thai film "Tropical Malady" has managed to grapple with these themes with such playful and erotic sensitivity. The sort of film which confronts the very notion of a moral fabric -- dangerous -- yet vital if audiences are willing to challenge their own notions of fairytale love, expectations for companionship and ultimately happiness.
The mismatched performance style (Glenda J's unusual mix of naturalism and
Brechtian facade -- is delightful when juxtaposed with Oliver Reeds hammy
closetted representational queer). Like "cAT ON A HOT TIN roof" this
performance contrast only serves to strengthen the academic rigour of the film's politics -- and ultimately serves as an emotional beacon to enlighten an
audience with an elusive mind.
Like "The Day of the Locust" -- this film is breathtakingly modern -- and before it's time.
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