Holliday Grainger’s portrayal of Constance is superb.
The stereotypical Lady Chatterley of legend – a bored, upper-class housewife looking for a bit of rough – is nowhere to be seen; Grainger makes her a complicated, convincing human being: sympathetic, playful, lonely, dutiful and conflicted.
The novel was considered highly controversial at the time of its publication due to its explicit sexual content, and a trial was held in Britain in 1960 to determine if the book fell under the country’s Obscene Publications Act.
It appears in an episode of “Mad Men” as well, with Joan Holloway’s possession of the book causing a stir in the office due to its erotic content.
But mostly the novel seemed to have been locked in the cellar, only for rare stabs of authentic Lawrence to show up and embarrass the mostly invented dialogue.
If you do not meet these requirements, then you do not have permission to use the Website.Then Lady Chatterley did her back in, and was replaced on bathing duties by a beautiful young housekeeper, so she mooched off in a jealous huff to flirt outrageously with the new gamekeeper. Aside from one scene with an off-screen cameo for Mellors’s famous sidekick John Thomas, the drama felt mystifyingly coy about the human body, which felt perfidious treatment for a novel banned for being too honest.The only flesh flashed was when Mellors returned from the war to spy his nearly naked pregnant wife in the window in the arms of another.: a four-part dramatisation of the DH Lawrence novel directed by Ken Russell, starring Joely Richardson in the title role and Sean Bean as her gamekeeper lover Mellors.A generation of horny teenagers tuned in, but in spite of the workmanlike woodland grunting from Bean (not to mention the infamously dreadful post-coital line, ‘We come off together that time – it’s good when it’s like that’) and both leads flashing enough flesh to upset the Broadcasting Standards Council, the series was about as sexy as a press conference by Iain Duncan Smith.