For all the talk of movie theaters as “sacred spaces,” the family bonds are what stick with the viewer.
After a promisingly off-kilter start, a depiction of the life of the Austrian Empress Elisabeth ends up romanticizing addiction and mental illness.
In the end, though, the film is unable to make Mrs. Chatterley more than just a vessel for sexual exaltation, and it fails to reconcile Lawrence’s mind-body musings with how English society was changing in the 1920s.
Based on the renowned novel many of us read in high school or college, the movie retains some of the book’s characters and key events, though it modifies them to create a heightened narrative endpoint.
Her incredible performance recalls her Oscar-nominated work in another sea-related drama, 1996’s “Breaking the Waves.”
Lapses in logic and holes in the setup persist until the movie’s end, but Ms. Wilde’s central theme — how male placation and female subjugation are hardwired across society — maintains its core of truth.
Watch in the serene knowledge that nothing too awful will happen to these beloved characters, nothing too life-altering, just a few annoyances along the way to a relatively happy ending.
The film is widely considered to be an early and key example of “cinema du look,” an undeclared movement that emphasized reckless youth, high and low culture, and vibrant, eye-popping imagery.
Director Terry Zwigoff and his fellow screenwriter Daniel Clowes (who wrote the graphic novel on which the movie is based) hit on so many moments of truth, such as how teens subtly one up each other to see who can say the most offensive or dismissive comment, and how a young person can play a favorite song over and over again.