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(LR:) Jack O’Connell and Emma Corrin Lady Chatterley’s Lover<\/em><\/figcaption>Image: Parisa Taghizadeh\/Netflix<\/figcaption><\/p>\n<\/div>\n<\/figure>\nIf you are of a certain age, there’s a possibility you have a special connection to Lady Chatterley’s Lover<\/em><\/span>. No, not the book that was written by DH Lawrence in the late 1920s, but remained unavailable until a well-publicized obscenity trial in 1960, but the Skinemax classic from 1981<\/span> starring Sylvia Kristel and directed by Just Jaeckin, a follow-up to their classic Emmanuelle <\/em>This movie had a tendency to air way past midnight, when an adventuresome adolescent could perhaps sneak to the guest room, keep the volume super low, and catch a glimpse at some criticism of the British class system of the interwar period!<\/p>\nNo, no, this was not actually the draw. The draw, of course, was prurience with a capital P, but unlike other soft-core period pieces (and there were many!) there was at least an attempt made to tell some kind of story with this one. (The same can not be said for the ribald sequels Young Lady Chatterley <\/em>or, especially, Young Lady Chatterley II<\/em>co-starring Adam West.)<\/p>\n\n<\/p>\n\n
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CAST<\/h2>\n\n
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Emma Corrin<\/p>\n
Lady Constance Chatterley<\/p>\n<\/div>\n<\/div>\n
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Jack O’Connell<\/p>\n
Oliver Mellors<\/p>\n<\/div>\n<\/div>\n
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Joey Richardson<\/p>\n
Mrs. Bolton<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
DIRECTOR<\/h2>\nLaure de Clermont-Tonnerre<\/h2>\n<\/p>\n
SYNOPSIS<\/h2>\nAn unhappily married aristocrat begins a torrid affair with the gamekeeper on her husband’s country estate.<\/h2>\n<\/p>\n<\/div>\n <\/span><\/section>\n<\/aside>\n
It goes like this. The young Constance Reid (Emma Corrin) marries well, to Sir Clifford Chatterley (Matthew Duckett), Baronet and heir to Wragby, an enormous estate near a mining village. The day after his wedding ceremony (and wedding night), he goes off to fight in the Great War and comes back in a wheelchair. His wounds prevent him from taking any action in the marital bed, which Lady Chatterley is n’t thrilled about, but she still seems pleased that her husband is alive at all.<\/p>\n
They busy themselves with updates to the manor, but then Clifford, a writer, becomes frustrated with his work, and evolves into something of a jerk. Meanwhile, Connie can’t help but notice that the very friendly and helpful gamekeeper, Oliver (Jack O’Connell) is a stone-cold fox. she probably<\/em> would never approach him, but Clifford’s desire to have a male heir puts the idea of \u200b\u200bher shacking up with someone in her head. <\/p>\nWhile Sir Clifford doesn’t want to know the details, he’s okay with some quiet, mercenary cuckoldry if it means Lady Chatterley should become pregnant. He would also gain face with the villagers, all of whom work for him in some way, because they correctly assume he is unable to perform the sex act. This would prove them wrong, wouldn’t it? Wouldn’t it?<\/p>\n
Clear communication is important in a relationship, but there’s a foul-up. Sir Clifford just assumes his wife understands that the secret father to their child should be someone of good breeding, not some fella who works for a living. (And who is technically married to someone else, but let’s not get into all that.) More problematic is that Lady Chatterley’s rolls in the hay with Oliver aren’t brief, mechanical encounters, they are toe-curling, mind-splitting adventures in carnal ecstasy that drastically reconfigure her day-to-day interests. In addition to that, both she and he \u201ccatch feels,\u201d as it were.<\/p>\n
This, as I am sure you could imagine, causes some strife.<\/p>\n