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#54 Favorite Film, 1969 Films, Alan Bates, Alan Webb, Art, Catherine Willmer, Drama, Eleanor Bron, Glenda Jackson, Jennie Linden, Ken Russell, Oliver Reed, Romantic Drama, Top 100 Films, Top 250 Films

Women in Love-1969

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Women in Love-1969

UPDATED REVIEW

Director Ken Russell

Starring Glenda Jackson, Oliver Reed, Alan Bates

Top 250 Films #54

Scott’s Review #766

Reviewed June 2, 2018

Grade: A

Women in Love (1969) is a British romantic drama film that stands out as truly one of a kind. The film is quite cerebral and requires a bit of thought, which will undoubtedly lead to good conversation with film connoisseurs everywhere after a viewing.

The four central characters are complex and flawed, and they dramatically intersect in each other’s lives, making the film a “thinking man’s” feast.

The film is adapted from a popular D.H. Lawrence novel of the same name.

In 1920, set in the Midlands section of central England, sisters Ursula (Jennie Linden) and Gudrun (Glenda Jackson) attend the wedding of an acquaintance, Laura Crich. The Crich family is enormously wealthy and owns a large share of the mining town.

During the ceremony, Gudrun and Ursula fantasize about Gerald Crich (Oliver Platt) and Rupert Birkin (Alan Bates), respectively. When the foursome cross paths again at Rupert’s pretentious girlfriend’s party, attraction and conflict arise.

The film is described as “character-driven,” but it does not begin to do it justice. Each of the four principal characters is richly written with intelligence and gusto. All of them are either flawed or insecure in some way, while the fact that Gerald and Rupert share a sexual attraction for each other is another nuance explored throughout the film.

Rupert is confident and outspoken about his bisexuality- extremely rare for a 1969 film. In this way, Women in Love is ahead of its time.

The significant themes in Women in Love are commitment and love, and how each character handles them, sometimes embracing them and sometimes running away from them.

Gudrun and Gerald are in love with each other, as are Rupert and Ursula, but only one couple reaches any bliss. The characters possess a bevy of emotions, making their happiness almost impossible, and they feel doomed to failure from the onset.

This is an example of Larry Kramer’s tremendous writing and of bringing the characters to the big screen in a memorable way.

Jackson’s Gudrun and Bates’s Rupert are my favorite characters because they seem to have a bit more depth and feel like standouts. Gudrun appears to have love-hate feelings toward Gerald and is often downright cruel to him.

As they vacation in the Swiss Alps, Gudrun purposely and inexplicably flirts with a gay artist, leaving Gerald extremely jealous, which results in tragedy.

Counter-balancing Gudrun’s anger, Rupert showers in fun and zest for life, happily bisexual and thinking nothing of it, enjoying his sexually charged affections for both men and women.

The supporting characters, specifically snobbish Hermione and mentally unstable Christianna Crich, are examples of perfect casting. Eleanor Bron plays Hermione as mocking and teetering on the edge of unhinged. As she psychologically bullies poor Ursula, even though it’s clear Rupert prefers the more innocent woman, Hermione becomes frightened.

Actress Catherine Willmer takes Christianna to a new level of creepy. Already appearing psychotic, when her daughter tragically drowns, the woman goes over the edge, unleashing vicious dogs on any visitors to her estate.

Both actresses give unforgettable performances.

Women in Love contains a scene that may very well be the most homo-erotic scene in film history. As Rupert and Gerald decide to partake in a Japanese-style wrestling match one evening, they strip completely naked and grapple in front of a roaring fire.

In this lengthy sequence, both front and rear nudity are provided, leaving nothing to the imagination. When Rupert suggests they swear eternal love for each other, Gerald cannot commit to the emotional union.

One wonders if this outstanding scene influenced 2007’s Eastern Promises.

1969’s Women in Love is a fantastic film with terrific acting all around. Taking romantic drama to an entirely different level and setting a new standard for cinematic complexity, the work of director Ken Russell is peppered with nuance, making it rich with great storytelling and character development.

The fact that one couple ends in bliss and the other in tragedy is sheer excellence.

Oscar Nominations: 1 win-Best Director-Ken Russell, Best Actress-Glenda Jackson (won), Best Screenplay Based on Material from Another Medium, Best Cinematography

#105 Favorite Film, 2001 Films, Alan Bates, Camilla Rutherford, Clive Owen, Derek Jacobi, Drama, Eileen Atkins, Emily Watson, Helen Mirren, Julian Fellowes, Kelly Macdonald, Kristin Scott Thomas, Maggie Smith, Period Drama, Richard E. Grant, Robert Altman, Ryan Phillippe, Tom Hollander, Top 250 Films

Gosford Park-2001

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Gosford Park-2001

Director Robert Altman

Starring Maggie Smith, Helen Mirren, Ryan Phillippe

Top 250 Films #105

Scott’s Review #350

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Reviewed January 9, 2016

Grade: A

Somewhere between the brilliant PBS series of the 1970s and the ultra-modern cool of Downton Abbey (also PBS) lies the masterpiece that is Robert Altman’s 2001 gem, Gosford Park.

Ironic is that the creator, writer, and executive producer of Downtown Abbey, Julian Fellowes, wrote the screenplay of Gosford Park.

No wonder, combined with Altman’s direction, they created genius.

The period is 1932 and the wealthy, along with their servants, flock to the magnificent estate of Gosford Park, a grand English country home. The guests include both Americans and Brits and everyone is gathered for a shooting weekend- foreshadowing if ever there was.

Following a dinner party, a murder occurs and the remainder of the film follows the subsequent police investigation, and the perspectives of the guests and the servants as a whodunit ensues.

Many of the character’s lives unravel as secrets are exposed.

Sir William, the murder victim, is a powerful industrialist. After he announces he will withdraw an investment, the ramifications affect many of the guests so that the set-up is spelled out for the audience.

At the risk of seemingly nothing more than a plot device- it is so much more than that.

During a pheasant shoot, Sir William receives a minor wound thanks to a stray birdshot- is this intentional or merely an accident? When Sir William meets his fate that evening, the potential suspects pile up.

If there are two compelling aspects to a great film, they are a good old-fashioned whodunit and an enormous cast, all potential suspects.

What makes Gosford Park exceptional is that every character is interesting in some way and all are written well.

Secrets abound for miles in this film and are revealed deliciously. Torrid affairs, sexuality secrets, and blackmail abound as revelations make their way to the surface and Altman knows exactly how to cast doubt or suspicion on many of his characters.

The compelling relationship between American film producer Morris Weissman and his valet, Henry Denton (Ryan Phillipe), along with the domineering head housekeeper, Mrs. Wilson (Helen Mirren) are my favorite characters and dynamics.

How clever that Maggie Smith would play similar roles as stuffy aristocrats in both Gosford Park and Downton Abbey.

Rich in texture is the balancing between the haves and the have-nots and how those characters mix (sometimes in secret rendezvous!)

Typical of Altman films, the character dialogue commonly overlaps, and the actors largely improvise the script. In addition to being an actor’s dream, this quality gives a dash of realism to his films and Gosford Park is no exception.

Since there are so many characters and so many plots and sub-plots going on at once, my recommendation is to watch the film at least twice to fully comprehend the layers of the goings-on.

Gosford Park (2001) will become more and more appreciated.

Oscar Nominations: 1 win-Best Picture, Best Director-Robert Altman, Best Supporting Actress-Helen Mirren, Maggie Smith, Best Screenplay Written Directly for the Screen/Original Screenplay (won), Best Art Direction, Best Costume Design

#183 Favorite Film, 1967 Films, Alan Bates, British, Drama, Epic, John Schlesinger, Julie Christie, Period Drama, Peter Finch, Prunella Ransome, Robert Powell, Romantic Drama, Terence Stamp, Top 250 Films

Far from the Madding Crowd-1967

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Far from the Madding Crowd-1967

Director John Schlesinger

Starring Julie Christie, Terence Stamp, Alan Bates

Top 250 Films #183

Scott’s Review #315

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Reviewed January 1, 2016

Grade: A-

A sweeping, gorgeous epic made in 1967, Far from the Madding Crowd is pure soap opera (this is not a negative), done very well, featuring a woman with three male suitors and many similarities to another brilliant epic, Gone with the Wind (1939).

The cinematography, score, and writing are excellent, and at close to three hours, it is a lengthy experience.

The film is based on the popular novel written by Thomas Hardy.

The setting is lovely, rural England, the landscape green and lush- mostly farmland, where Bathsheba resides, having recently inherited her Uncle’s enormous estate and is, frankly, overwhelmed with the heavy responsibility required to run it successfully.

Three men appear in one form or another to lend a hand, and each falls madly in love with her- she had her choice of any of them. Throughout the film, each is given a chance to win her heart, and each faces trials and tribulations.

The wealthy neighbor, William Boldwood, is older and insecure. Frank Troy is a bad boy who is a cavalry sergeant, and Gabriel, a former farmer, has lost all of his sheep.

Having only seen this film twice (so far), I notice more and more the similarities to Gone with the Wind. Both are set around the same period (the 1860s), and both films feature powerful, independent, gorgeous female characters with multiple male suitors.

Unlike Gone with the Wind, though, Bathsheba is not self-centered, but wholesome and honest.

Julie Christie was undoubtedly the “it” girl during the time the film was made, having recently starred in Darling (1965) and Doctor Zhivago (1965), among others, and Far from the Madding Crowd is a perfect film for her, focusing on her beauty and earnestness.

She is exceptionally cast.

What I enjoy most about the film is that we do not know which of the men Bathsheba will wind up with…if any of them. Gabriel (Alan Bates) is my personal favorite, but at the beginning of the film, she rebuffs his marriage proposal.

In a heartbreaking scene, one of his dogs goes mad and leads his entire flock of sheep to their death. He is then forced to work as her shepherd, a job beneath him. He is the most likable of the three men, and it is fun to root for their ultimate union. But is he prone to bad luck?

Frank Troy is dashing- a clear lady’s man, yet I did not root for him. A character, whom I found to have strange motivations, impregnated and almost married a young lady named Fanny, only to turn her away based on a misunderstanding, then ultimately changed his mind about Bathsheba.

In one scene, he manipulates the citizens into getting drunk on brandy, which leads to a crisis. He is charismatic and used to getting his way.

Finally, Boldwood is wealthy, sophisticated, and appealing to Bathsheba in a certain way (primary stability). Still, there is also something I find “off” about the character throughout the film- unstable, maybe, needy? I did not find his character likable either.

The overlap and the relationships between the men are also interesting aspects of Far from the Madding Crowd. Will they become friends? Would they kill each other for Bathsheba’s affection?

Many emotions run through all four characters, which makes the film rich in character development.

Grand, sweeping, and beautiful are words that describe Far from the Madding Crowd, a film I enjoy exploring and evaluating with each viewing.

Oscar Nominations: Best Original Music Score

1969 Films, Alan Bates, Art, Drama, Glenda Jackson, Ken Russell, Oliver Reed, Romantic Drama

Women in Love-1969

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Women in Love-1969

Director Ken Russell

Starring Glenda Jackson, Jennie Linden

Scott’s Review #553

Reviewed December 20, 2016

Grade: A

Women in Love is a shamefully, by and large, forgotten gem- except for the obscure cinema lover- made in 1969.

The film is a British art film and way ahead of its time. Despite the title, it is anything but a romantic comedy- quite dark in content. The film is adapted from a D.H. Lawrence novel of the same name.

The story is of two sisters, Gudrun and Ursula, living in a small mining town. They gather at the wedding of a friend and each becomes enamored with a member of the wedding party.

Later, at a swanky dinner party, the girls meet the men. The film tells of the sister’s relationships with each of the men (played by Alan Bates and Oliver Reed) as well as the men’s relationship with each other.

All of the relationships are very complex and filled with emotion tender and some are quite violent.

Women in Love is one of the first films to feature tons of nudity, but not so much in a gratuitous fashion.

The film’s themes are love, hatred, and the trials and tribulations of the English upper class are explored. The film is a love of mine since it is character-driven, told from each of the perspectives of the characters, and is quite an intense experience.

Glenda Jackson won the 1970 Best Actress Oscar- deservedly so.

Oscar Nominations: 1 win-Best Director-Ken Russell, Best Actress-Glenda Jackson (won), Best Screenplay Based on Material from Another Medium, Best Cinematography