Lady Chatterley's Lover tries, and fails, to have it both ways
While Sir Clifford doesn’t want to know the details, he’s okay with some quiet, mercenary cuckoldry if it means Lady Chatterley should become pregnant. He would also gain face with the villagers, all of whom work for him in some way, because they correctly assume he is unable to perform the sex act. This would prove them wrong, wouldn’t it? Wouldn’t it?
Clear communication is important in a relationship, but there’s a foul-up. Sir Clifford just assumes his wife understands that the secret father to their child should be someone of good breeding, not some fella who works for a living. More problematic is that Lady Chatterley’s rolls in the hay with Oliver aren’t brief, mechanical encounters, they are toe-curling, mind-splitting adventures in carnal ecstasy that drastically reconfigure her day-to-day interests.
There have been two more-or-less respectable BBC productions since the 1981 Jaeckin picture, but this new one, which debuts on Netflix, tries to go both ways. Directed by, whose florid name suggests a familiarity with crests and peerage and taking walks on the grounds, it’s a lovely production with spectacular cinematography and production design.
As things wrap up, there’s an attempt to cram in some talk of worker’s rights and the inhumane attitudes of the obscenely rich, but this is far from. There are also occasional eye-roll moments from modern touches in the script, like Lady Chatterley, early in the film, saying Sir Clifford “makes me feel safe.” I checked a PDF of the book, and that dialogue is nowhere in there. And then I kept reading because that D.H. Lawrence sure was a randy gentleman.
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