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Oct 31, 2017Nursebob rated this title 3 out of 5 stars
Ken Russel caused quite a stir with the censors in 1969 when he adapted D. H. Lawrence’s novel about the power and politics of sex with most of its nudity and passions intact. Despite Russel’s signature chop-shop editing style and some wordy passages which sound as if they were read directly from the source material, this is a very watchable ensemble piece which softens its heady mix of sexual politics and social critique with some genuinely erotic passages—most notably a nude wrestling match between Bates and Reed in front of a roaring fire. Russel also throws in some clever touches, comparing the foursome’s intellectual dalliances with fornication and morality to the open carnality of the lower classes. Furthermore, a homoerotic bond between the two men suggests Rupert may need Gerald more than he is willing to admit (that “almost-kiss” is enough to take your breath away), a need highlighted by the aforementioned fireside fight complete with bear skin rug. And throughout the film images of women—in paintings, sculpture, and metaphorical fruit (I’ll never look at a fig the same way again)—appear to mock the male protagonists who unwillingly follow the women wherever they lead them. Indeed, when Jackson’s character manages to scare off a herd of bulls with a simple dance you can almost hear Lawrence laughing.