Can you imagine the effect this movie had in 1969? I is still ahead of the times. Merit, in great part, of Larry Kramer who adapted DH Lawrence's work in a way nobody else could have. Scrumptious, subversive, extraordinary. Director Ken Russell with some startling titles to his name - his BBC production of Isadora Duncan with a sublime Vivien Pickles in the title role, for instance - reaches here some kind of mountain top. Glenda Jackson became a household name, Alan Bates confirmed what we all knew, that he was one of the greatest actors that ever lived. I devoured the film with utter pleasure 48 years after its first released. Literature and cinema in an insanely beautiful alliance.

I've always been attracted to this movie. It came out where young people were exploring more freedom in sexuality and sexual expression. A particularly memorable scene involves Alan Bates describing the correct way to eat a fig. There is never been a more sensual description of a vagina in bloom than Bate's fig description, at least on film. Ken Russell does a wonderful job in bringing this D.H. Lawrence to life. The movie beautifully, and repeatedly, contrasts the sensuality to life with the brutality of the industrial revolution in England immediately after WWI when two sisters, Gudrun Brangwen (Glenda Jackson) and Ursula Brangwen (Jennie Linden) find two very different types of men (Alan Bates and Oliver Reed) to love. Conventionality also clashes with idealism in this movie too. This is made clear when the two couples decide to vacation in Zermatt. For me, one of the most memorable visual shots of the movie occurs when the two couples first arrive in Zermatt, and Glenda Jackson holds her arms in the air to greet the Matterhorn (Mont Cervin) as if her arms were the labia of a vagina, opening widely to fully embrace an erect penis. In this shot, this is nature representing the joy of human sensuality.

This story takes place in England in the 1920s and follows two young sisters, Gudrun and Ursula, and their relationships with Gerald and Rupert, respectively. As might be expected from a Lawrence novel, sexuality plays a significant role, shading the complexity of the relationships. It's not just the two main relationships that take center stage, but the relationship between Gerald and Rupert adds a captivating dimension to the proceedings. No matter how satisfying the relationship with a woman, Rupert feels that a male friendship is necessary for fulfillment. It does not seem that what Rupert seeks is a homosexual relationship, but some relationship that goes "beyond love," as he says.The cast is uniformly good. Glenda Jackson makes a great Gudrun--a woman with an artistic temperament whose feral nature is hinted at throughout, and explodes toward the end. Oliver Reed is a good Gerald--masculine, with an underlying passion that must fail to be satisfied due to his inability to understand the emotional depths of a woman like Gudrun. Alan Bates breaths life into the sensitive, emotional Rupert who is continually searching for some ultimate Eden while having a love/hate relationship with death. I would have to guess that Rupert is a stand-in for Lawrence.The filming is lush with a surprising eye for period details.I came away from this less than optimistic about human relationships. The discrepancy between what the people are thinking and how they are behaving is exemplified, and their emotions are so volatile that they can move from one extreme to another in a split second. Lying at the heart of all the relationships is a battle of wills where expectations are not met. Class distinctions add to the discord--Gerald's being a wealthy businessman, whose main concern has been maximizing the bottom line, ill suits him for establishing intimate contact with the more artistically and philosophically inclined schoolteachers. I usually go to movies that have been adapted from famous novels with much trepidation, fearing that the novel will be butchered and people will be discouraged from reading the original source. However, the two movies I have seen based on D.H. Lawrence novels (this one and "Sons and Lovers") have been sincere attempts to capture the essence of the novels and have by and large succeeded. This movie encourages reading the novel.The movie follows the book pretty well; most of the dialog comes directly from the novel. Much of Rupert's mystical, philosophical musings have been omitted, which is not all that bad in my opinion. The fig scene was added, but it is in keeping with the spirit of the film; however, Loerke's jumping around near the end pretending that he is Tchaikovski is a bit of an odd addition. And Gerald's mother is portrayed as being totally off her nut in the movie, whereas in the book she was just bitter and uncaring.If you want to get into the weeds of trying to understand the exceedingly complicated emotions that this movie only touches on, read the book.

Ken Russells 1969 take on D.H Lawrences classic tale of sexual desire and awakening is nothing less than a masterpiece.Set in the early 1920's in England it tells the story of two sisters looking for love where ever they can find it.There's Gudren(Glenda Jackson)the elder desperate for the physical sensations of love and to hell with the consequences.Then there's shy Ursula(Jenny Lindon)who want's the emotional intimacy love can provide and may appear quiet and reserved but inside has passions just waiting to be released.They fall in love with two men who are the best of friends and who may have sexual feelings for each other as well.Heir apparent to a successful mining company Gerald Critch(Oliver Reed)and Boheminan Rupert Birkin(Alan Bates).Ursula falls deeply in love with Birkin who promptly marries her while Gerald embarks on an often painful affair with Gudren.I see the women here as the female versions of Gerald and Birkin.Gudren is Birkin seething with passion for Gerald and not afraid of making her feelings and emotions known whether in public or not.Whereas Ursula is Gerald controlled,reserved and quiet on the outside but inside harbours such strong feelings they could tear her apart.Each man marries the opposite of his own nature therefore fulfilling their desires to be together even if in reality they can never be together.Famous for it's use of full frontal nudity and sexual subject matter it's also best remembered for the nude wrestling match between Birkin and Gerald which can be seen as a physical form of their desire for each other.With unforgettable performances from the leads and a young Eleanor Bron as Hermione Roddice who's in love with Birkin. Moving,beautiful and haunting Women In Love is a love story that will stay with you long after you've seen it.