Emma Corrin, who played Diana Spencer in The Crown, and Derby native Jack O’Connell, as Connie and Mellors, are both excellent. Story – that’s what’s in the novel, so I wanted it in the movie.”Īnd through the good services of her actors, it’s all there. There has to be something transcendentĮmotionally in the characters and the scenes have to mean something in the “You have to find the balance between explicit and being romantic and it isn’t just sexual intercourse you’re showing.
“You know, it is quite a challenge to make something sexy on screen,” she says. In a most un-British way, we are deep into conversing about sexuality from the very start. I think that’s what is in the novel and that is probably why it proved so controversial for so many years.” “I don’t know, I just wanted to make something explicit that also glorified a woman’s sexuality and that showed a woman taking control of her body and her pleasure. “Oh, with a French woman, you are guaranteed great sex in the cinema,” Story? And why, when we want our sexy stories told, do we turn to French When I meet Laure de Clermont-Tonnerre, I ask her immediately, why are the French so obsessed with this Lady Chatterley won the 2007 César for Best Film, and the award forĪctress, too, although it was based more on Lawrence’s other version of Ken Russell’s BBC TV version from 1993 will surely come to mind again for modern viewers, because his Connie, Joely Richardson, is cast in this new film, this time as Mrs Bolton, the woman brought in to care for the wheelchair-bound Sir Clifford.īut the most recent cinema version is by another French woman, Pascaleįerran, in 2006, and starring Marina Hands, daughter of playwright Terry The French were there again in 1981 with the notorious Just Jaeckin, director of Emmanuelle, and using his softcore muse from that series, Sylvia Kristel, in the titular role, and English actor Nicholas Clay as Mellors, fresh from his unsheathing work as Lancelot in John Boorman’s Excalibur. Starring Danielle Darrieux in L’amant de Lady Chatterley, a film that itself was banned in New York for “promoting adultery”. Them have come from the French: the first before the ban was lifted, in 1955, There haven’t been many big screen adaptations of Chatterley, and most of It’s a beautiful-looking picture, photographed with full sensuality by French cinematographer Benoît Delhomme (who began his career on the pastoral adaptations of Jean de Florette and Manon des Sources) and who works an almost fairytale magic here on the Welsh countryside, just outside Chirk. The latest version, for which you might well make sure your age-appropriate filters are working on Netflix, is directed by Laure de Clermont-Tonnerre, a Paris-born filmmaker who started her career as an actor and is now entrusted with making Britain’s favourite dirty story look sexy.
So why do only the French get to make movies about this?
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