The running naked in the rain, the flowers in pubic hair—they’re Lawrence’s utopian ideal of sex as interpreted via the safe iconography of the sexual revolution Lawrence portended but looked far past.The fact that Hands and Coulloc’h play their scenes without the searching, improvising-on-the-spot nervousness of real sexual contact suggests that in —the former exposes the latter as positively tame, to use Lawrence’s deriding adjective.
Yet the hand knew, too, how to unclothe her where it wanted. She must only wait, for she did not dare to break his mysterious stillness. A novel like doesn’t seem possible to successfully convert into visual terms—its intensity of emotion and psychological insight is wholly dependent on verbal precision; it’s a monument of language built according to its characters’ awareness of body, mind, and soul, an inner monologue of their changing relationship to the entire universe as they grow from furious malcontents to enlightened iconoclasts.Unlike is superficially ripe for the screen: its prose is digestible, its story arc simple, and its action extremely camera-friendly even as it takes up its predecessors’ themes.At the back of his loins the fire suddenly darted stronger. Her face was averted, and she was crying blindly, in all the anguish of her generation's forlornness.His heart melted suddenly, like a drop of fire, and he put out his hand and laid his fingers on her knee. But then she put her hands over her face and felt that really her heart was broken and nothing mattered any more.As for the sex scenes, Ferran directs them with a serviceable integrity, both to Lawrence’s material and to the rhythms and motions of her actors, and she rightly refuses to shy away from the unapologetic human aspects of the realm of flesh, such as Lady Chatterley’s bewildered, unorgasmic shock as she finds herself beneath the strange man, as well as a direct look at an erect penis.
But Ferran’s slavish fidelity to the sillier elements of Lawrence’s novel is disastrous.
And there was something so mute and forlorn in her, compassion flamed in his bowels for her.
Without knowing, he came quickly towards her and crouched beside her again, taking the chick from her hands, because she was afraid of the hen, and putting it back in the coop.
And he had to come in to her at once, to enter the peace on earth of her soft, quiescent body.
It was the moment of pure peace for him, the entry into the body of the woman.
He drew down the thin silk sheath, slowly, carefully, right down and over her feet. He lay there with his arms round her, his body on hers, his wet body touching hers, so close.