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I nostri partner
Love vigilantes
Last Updated: July 18, 2007 11:34
2007-07-13
Ferran on taming class conflict through eros
INTERVIEW. D.H. Lawrence’s novel “Lady Chatterley’s Lover,” about the affair between an aristocratic woman and the working-class gamekeeper on her estate, is considered an erotic classic of 20th-century literature, perhaps in no small part because it was banned and its publishers charged with obscenity in several countries. When French director Pascale
Ferran decided to adapt the story to film, she chose for her source text an earlier draft of the novel (Lawrence published three versions). The film won five Cesars (the French equivalent of the Oscar), and Marina Hands, who plays Constance Chatterley, won the best actress award at the Tribeca Film Festival.
Why did you choose to base your film on the second version of the story, rather than the third, most famous version?
In the one I chose, the gamekeeper was a much more wild, savage character. He had trouble expressing himself. This makes his relationship with Constance more complicated. In the third version, the gamekeeper is a political activist who theorizes a lot on what they are experiencing together. She transitions from an intellectual domination by her husband to a political domination by her lover, whereas in the second version, these are cross-dominations. The man is dominating as a man, but on the social terrain, she is in a position of dominance, on both a social and cultural level.
What are some of the difficulties of filming a romance that cuts across social classes?
The fact that they are from two very different social classes was almost like a metaphor. When two people meet in any case, they must get to know each other and tame each other. No matter where they are from.
In the absence of overlapping social lives and the ability to easily communicate with each other, how do you make a film about love that does not rely solely on sex?
These two characters have a very strong relationship to solitude. ...There’s a sentence I really love in the book. The first time the gamekeeper watches Constance sleep in the shed, Lawrence writes: “He recognizes her like a fugitive recognizes another fugitive.” ...They both love tremendously what meeting the other has created in them. The audacity he gives her, the fact that all of a sudden she feels she has a body. ...For him, he feels liberated with her. I think he’s a very sensitive man. Savage is bearish, but he has almost an artistic sensibility, and with her, he is able to take that on more so than with anyone else. Little by little, with trust emerging, he realizes that with her he can find the possibility to express himself with speech. So he gave her her body back and she has given him speech.
Ferran on taming class conflict through eros
INTERVIEW. D.H. Lawrence’s novel “Lady Chatterley’s Lover,” about the affair between an aristocratic woman and the working-class gamekeeper on her estate, is considered an erotic classic of 20th-century literature, perhaps in no small part because it was banned and its publishers charged with obscenity in several countries. When French director Pascale
Ferran decided to adapt the story to film, she chose for her source text an earlier draft of the novel (Lawrence published three versions). The film won five Cesars (the French equivalent of the Oscar), and Marina Hands, who plays Constance Chatterley, won the best actress award at the Tribeca Film Festival.
Why did you choose to base your film on the second version of the story, rather than the third, most famous version?
In the one I chose, the gamekeeper was a much more wild, savage character. He had trouble expressing himself. This makes his relationship with Constance more complicated. In the third version, the gamekeeper is a political activist who theorizes a lot on what they are experiencing together. She transitions from an intellectual domination by her husband to a political domination by her lover, whereas in the second version, these are cross-dominations. The man is dominating as a man, but on the social terrain, she is in a position of dominance, on both a social and cultural level.
What are some of the difficulties of filming a romance that cuts across social classes?
The fact that they are from two very different social classes was almost like a metaphor. When two people meet in any case, they must get to know each other and tame each other. No matter where they are from.
In the absence of overlapping social lives and the ability to easily communicate with each other, how do you make a film about love that does not rely solely on sex?
These two characters have a very strong relationship to solitude. ...There’s a sentence I really love in the book. The first time the gamekeeper watches Constance sleep in the shed, Lawrence writes: “He recognizes her like a fugitive recognizes another fugitive.” ...They both love tremendously what meeting the other has created in them. The audacity he gives her, the fact that all of a sudden she feels she has a body. ...For him, he feels liberated with her. I think he’s a very sensitive man. Savage is bearish, but he has almost an artistic sensibility, and with her, he is able to take that on more so than with anyone else. Little by little, with trust emerging, he realizes that with her he can find the possibility to express himself with speech. So he gave her her body back and she has given him speech.
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