But otherwise there’s no sense that these characters exist among “the ruins” of the cataclysmic “tragic age” Lawrence paints in the book’s very first sentences.
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Pascale Ferran, France, Kino Films The seas of literary adaptation are wrought with peril, but there’s something particularly resistant to cinematic translation in the work of D. , Lawrence’s most infamous novel and the source of scandal and censorship upon its publication in 1928 for its frank depiction of adulterous sex and unabashed swearing, presents a contrary set of problems.
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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. They stared at him a moment, and turned away, muttering to one another. Connie knew it all, and accepted it far more inevitably than Clifford did.
He visits the Chatterley home, he and the lady get busy, he finishes pretty quickly each time they get together, but the ladyship (as a good D. Lawrence heroine) keeps him inside of her and brings herself to an orgasm by rubbing herself on his thighs.
So after a few times of this, apparently he’s had enough and retorts with the above line.
How many times have I said some- thing I thought innocent—or even complimentary—only to have it heard by my beloved as something along the lines of “I wish you would turn into a pizza.”.