Word: glenda
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Dates: during 1970-1979
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...Scratching. Tchaikovsky (Richard Chamberlain) is first observed in the bed of his lover, Count Anton Chiluvsky. As played by Christopher Gable, the count is a vaudevillain complete with waxed mustache and leer. Tchaikovsky, fleeing from scandal, marries the nymphomaniacal Nina Ivanovna (Glenda Jackson). The outcome is nearly homicidal. (One night, wrote the tormented composer, "I was within a hairbreadth of succumbing to that blind, unreasoning, diseased loathing that ends in murder.") Tchaikovsky suffers a series of breakdowns. Nina ends her life in a sanitarium, hopelessly insane...
Essentially, Women in love, the novel, is a partially dramatized dialectic on the meaning of sex, love, and marriage, Lawrence's characters-Gerald, a machine-driven industrialist (played by Oliver Reed in the movie); Gudrun (Glenda Jackson), a willful, aspiring artist; Ursula (Jennie Linden), her simpler, more sensual, sister; and, of course, Birken-tramp about their country homes in the English countryside circa 1910 while strenuously debating the finer points of their relationships. Eventually they pair off and work out their respective destinies. For the movie version, Kramer has saved great chunks of their conversation in an almost suicidal attempt...
...Birkin (Alan Bates) not only takes the author's part but is costumed and bearded to resemble him. His friend, Gerald Crich (Oliver Reed), is a mineowner who represents the century's death wish: mechanization. Their lovers are the animated Brangwen sisters, Ursula (Jennie Linden) and Gudrun (Glenda Jackson...
...four, the dark, hulking Reed is the most remote from the author's conception of a Nordic superman. The closest to the true Lawrentian is Glenda Jackson, who made her reputation as Charlotte Corday in the Royal Shakespeare Company's Marat-Sade. Playing the repressed, inflammable Gudrun, she is a total re-creation of the impassioned, nearly liberated woman whose yards of shapeless clothes could not conceal her unrelieved sexual longing, and whose prudish conversation was almost always alive with allusions...