Word: lawrentians
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...larger story of a society in transformation. The bleakness of the depression years, the depredations of world war, the nationalization of the mines--these provide the backdrop against which Storey's characters move. The landscape Storey describes is not only social, but literary: beside the stolidity of a Lawrentian mining village, he sets the formal rigidity of a Dickensian public school, with its masters almost comic in their severity. Through this landscape flits the mystical figure of Stafford, Colin's foil, who, like Dickens' Steerforth, sloughs off the spoils of his prosperity and talent with the same ease with which...
Women in Love. Ken Russell's lush adaptation of D.H. Lawrence's novel comes closer to the emotional spirit of the subject period than do any of his subsequent films, and his arty style is appropriate to Lawrentian descriptions of passion. Alan Bates tells how one eats a fig a provocative Glenda Jackson dances before a herd of cattle--these scenes are handled very well, but the social attitudes of the book are lost. Read it first...
...extraordinary, the strength of her instinct not to examine that area of her life," Lessing writes of one of her victims. Such stylistic affinities with Lawrence permeate the story. It is a credit to Lessing's common sense, however, that she does not try her hand at the greater Lawrentian feat of sensualizing descriptive prose...
...slowly becomes aware of the nature of the Marion-Burgess relationship, the stocky, good-natured tenant of Black Farm assumes a father-like role. Burgess is no calloused, warted prophet of the Lawrentian school of peasants, but a strong, understanding worker. He stands in the film for the natural qualities smothered by Hall mores, but to him these are merely the elements of a commonly accessible good life. His tragedy is his inarticulateness, which causes him to lose Leo's trust before he can explain to him the meaning of adulthood...
...story-and no film-better reveals Lawrence's moral absolutism than The Virgin and the Gypsy. Between its narrow boundaries is sown the seed of the Lawrentian canon-the familial conventions, the social hypocrisies, the annealing force of sex. The time is the '20s and the maiden is Yvette (Joanna Shimkus), who steps backward from French finishing school to her father's claustrophobic vicarage in northern England. The old authorities are reasserted, and Yvette is briefly cowed by her hectoring, rectoring father (Maurice Denham) and his priggish relatives. But there is a new spirit...