D. H. Lawrence had quite a curious method. Whenever he completed a manuscript, he would devote himself to other things for a few months and then write the complete text again, but without using the original as its basis. The novel (very well-) known as Lady Chatterley’s Lover, whose publishing was self-financed shortly before his death in 1928, is, thus, the third version of what used to be John Thomas and Lady Jane. Less discursive and more focused on the sensory exploration of the bond between a crippled aristocrat’s bored wife and the reclusive gamekeeper of the family lands, that second version of the text was the one Ferran chose to adapt after a decade away from fiction. What he achieved, by letting the bodies of Connie (the extraordinary Marina Hands, who won one of the five César Awards the film received) and Parkin breathe and perspire au naturel –in every possible sense–, was to bring back the modernity, freshness and vitality to Lawrence’s much-revisited tale: rewriting it once more, almost from scratch. AM
Section: Pascale FerranD: Pascale Ferran
G: Pascale Ferran, Roger Bohbot
F: Julien Hirsch
E: Yann Dedet, Mathilde Muyard
DA: François Labarthe
S: Jean-Jacques Ferran
M: Béatrice Thiriet P: Gilles Sandoz
CP: Maïa Films
Marina Hands, Jean-Louis Coulloc’h
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It’s been said of Pascale Ferran, who was born in Paris in 1960 and graduated from the prestigious IDHEC, that she “practices film like haute couture or the engineering of precision.” And even though such a statement becomes easily verifiable in the elegance of her Lady Chatterley or the airport landscape in Bird People, it is als...
05 May 2015
25 April 2015
25 April 2015
