University of Virginia Library

CINEMA

Love Affairs Of Two Sisters

By Paul Chaplin
Cavalier Daily Staff Writer

Occasionally words are not capable
of expressing one's feelings.
Several times a year, I find myself
grasping in the air for words to
describe a film I have just seen.
Now I am facing the same problem
with "Women In Love."

Based on the novel by D.H.
Lawrence, the film will hit you
many ways. Most of the audience
will immediately be struck by the
story. The love affairs of two sisters
are contrasted and examined.
Ursulla falls in love and marries
Rupert, a believer of freedom and
spontaneous actions. Gerald, a
disturbed industrialist, is constantly
pursuing Gundrin, a sexual animal.
The philosophies of love held by
each character will either destroy or
enrich the lives of the two couples.

Deep Feelings

Expressing philosophies in a film
could result in long theatrical
speeches and become visually boring.
Larry Kramer's screenplay
utilizes Lawrence's novel to it's best
advantage by searching for visual
elements which are not only
cinematic, but represent deep feelings
of the characters. The wrestling
between Rupert and Gerald
emphasizes their need for each
other, as well as providing a release
for Gerald's emotions.

Symbolism abounds in "Women
In Love," but most everything

Lawrence wrote does. Figs are elegant
representations of women's
sexuality, as are other plants.
Names, such as "Gundrin," are foreshadowing
elements. The physical
presence of water, fire, and snow
and the physical acts of riding a
horse and dancing are outward
expressions of inner emotions.

The lovers are excellently
portrayed by Glenda Jackson, Alan
Bates. Jennie Linden, and Oliver
Reed. Miss Linden has the least to
do dramatically as Ursulla, but she
acts very well with Bates as
Rupert. Gerald, the most complex
character in the film, is portrayed
with gusto by Reed. Glenda Jackson,
however, deserves an ovation
for her performance as Gundrin.
Like her portrayal of Charlotte Corday
in "Marat/Sade," the character
of Gundrin is so real, we forget the
actress. The grace of her body
dancing, her terse manner of
scorning Gerald, and her sexually
active eyes are all just remarkable.

Delicate Distinctions

Ken Russell's direction alters
between explosive and tranquil
emotions when the story requires
such delicate distinctions. Perhaps
the best example of this occurs
when Gundrin is dancing in a field.
Suddenly she comes upon a herd
of bulls, but she continues dancing,
driving the animals back. The
camera work is lyrical, and
smoothly leads into the retreat of
the cattle.

Russell's opening scene of
Gundrin and Ursulla walking to a
wedding amidst the slums of 1920
London is also well done. He treats
it realistically, rather than an animated
vintage photograph. Much of
the realism here belongs to the
costume designer, who in this
column must remain anonymous.
You've got to watch those credits.

If the story doesn't appeal to
you, and you don't care for flapper
fashions, there is one area left
which you can explore. The love
scenes are beautiful. They are
neither falsely tantalizing or vulgar;
they are sensual and sexual. With
these scenes and excellent acting,
"Women In Love" offers a remarkably
enjoyable and thought-provoking
entertainment.

(Now at the University)