Helene Alexandridis Movies

D.H. Lawrence's once-scandalous tale of a married woman who finds herself through an affair with another man is brought to the screen in this adaptation directed by Pascale Ferran. Constance Chatterley (Marina Hands) is a lovely woman in her mid twenties who is married to Sir Clifford Chatterley (Hippolyte Girardot), a wealthy British nobleman many years her senior who is paralyzed from the waist down due to an injury sustained during World War I. While Constance loves her husband, she has grown weary of her life as a bird in a gilded cage, as well as her husband's lack of affection. One day, Constance steps out to take a walk and pauses to tell Parkin (Jean-Louis Coulloc'h), the estate's groundskeeper, that the cook would like him to shoot a pheasant for the evening's meal. Constance discovers Parkin is only half-dressed, and the physical strength of his body makes a strong impression on her. Parkin senses Constance's attraction to him, and he's equally taken by her beauty; in time the two throw caution to the wind and give in to their mutual passion. Constance blooms through her lovemaking with Parkin, and she finds his simple, rustic individualism is more to her taste than the life her husband has given her. But as Constance embraces her love for Parkin, others become aware of their relationship. Lady Chatterley was adapted from Lady Chatterley et l'Homme des Bois, the second of three versions Lawrence would publish of his best-known novel (it was published in English as John Thomas and Lady Jane). ~ Mark Deming, Rovi

This drama attempts to be a film within a film. In the outer story, Andre Dussolier stars as a film director working with drama students at the Paris Conservatory, making a film (the inner story) about a woman's obsession with a foreign desert. Wallowing in maudlin sentimentality, this feature fails to live up to the promise of its probable inspiration, Fame (1980), and was not well-received at the 1988 Cannes Film Festival. However, as a medium for instructing director Francis Girod's actual students at the Paris Conservatory about the art and perils of filmmaking, it was undoubtedly a good deal more successful. ~ Dan Pavlides, Rovi