Women in Love Page #6

Synopsis: The battle of the sexes and relationships among the elite of Britain's industrial Midlands in the 1920s. Gerald Crich and Rupert Berkin are best friends who fall in love with a pair of sisters Gudrun, a sculptress and Ursula Brangwen, a schoolteacher. Rupert marries Ursula, Gerald begins a love affair with Gudrun, and the foursome embarks upon a Swiss honeymoon. But the relationships take markedly different directions, as Russell explores the nature of commitment and love. Rupert and Ursula learn to give themselves to each other; the more withdrawn Gerald cannot, finally, connect with the demanding and challenging Gudrun.
Genre: Drama, Romance
Director(s): Ken Russell
  Won 1 Oscar. Another 5 wins & 18 nominations.
 
IMDB:
7.5
R
Year:
1969
131 min
470 Views


- It's so beautiful.

- What?

So pure.

- I'm only going to give you five shillings.

- Right.

It almost breaks my heart.

My beloved country.

It had to something express.

Even when it made this chair.

Now all we can do is fish among rubbish

heaps, for remnants of the old expression.

There's no production in us, anymore.

Just...sordid and foul mechanicalness.

Well, I hate your past.

I'm sick of it.

Not as sick as I am

of the accursed present.

Well, I don't want the past to take its place.

I don't' want old things!

The truth is,

we don't want things at all.

The thought of a house and furniture

of my own is hateful to me.

Madam...

Now, madam, it's yours. I hope

you'll both be very, very happy together.

- We must live somewhere.

- No, not somewhere. Anywhere.

Not have a definite place.

Just you and me and...

a few others.

Where we needn't wear any clothes.

Where we can be ourselves

without any bother.

Rupert, whatever did you mean?

You, me, and a few other people.

You've got me.

Well, I always imagined our being happy

with a few other people.

Why should we be?

I don't know. One has a hankering

after a sort of...fellowship.

Why? Why should you hanker after other

people? Why should you need them?

Old shoes! Old shoes!

Don't you need them?

Or does it just end with us two, then?

Yes. What more do you want?

If people care to come along,

then let them.

But it must happen. You can't

do anything about it with your will.

You always seem to think you can...

force the flowers to come out.

People must love us because they love us.

You can't make them.

I know.

But...does one...

just go on as if one's alone in the world?

You've got me.

Why should you need others?

You must just learn to be alone.

Two teas, please.

Did you know that

Gerald Crich has suggested

we all go away together at Christmas?

Yes. He's spoken to Rupert about it.

Don't you think it's amazingly cool?

I rather like him for it.

And what did Rupert say?

Do you know?

Mm. He said it would be most awfully jolly.

What? Don't you think it would be?

I think it might be awfully jolly,

as you say.

But...

but don't you think it was an unpardonable

liberty, to speak to Rupert like that?

We're...

They could've been two men

arranging an outing with some little type

they'd picked up.

Oh, no!

No...nothing like that!

Oh, no.

No, I think the friendship

between Rupert and Gerald

is really rather beautiful.

It's so simple. They just say

anything to each other, like brothers.

There's something I love about Gerald.

He's really much more lovable

that I thought him.

Well, he's free, Gudrun.

He really is.

Do you know where he...proposes to go?

Mm. Near Zermatt.

I don't know where exactly.

Oh, it would be rather lovely,

don't you think?

High up in the perfect snow.

Very lovely.

Mm. Of course, I think that

Gerald spoke to Rupert about it

so that it shouldn't seem

like an outing with a...

"type".

I know, of course, he does,

quite commonly, take up with that sort.

Does he?

How do you know?

I know of a model. In Chelsea.

Well, let's hope

he had a good time with her.

I must go, Prune.

Rupert's waiting.

The minute I set foot on foreign soil,

I am transported.

I am a new creature, stepping into life!

It's never quite the same in England.

One's...one's afraid to let go.

Afraid what'll happen,

if everyone else lets go.

Well, we're out of it,

so, let's all let go together!

There's one for you!

Oh, no!

How romantic it all is.

Shall we dance?

What a fine game you're playing.

She's in love with you.

Oh, dear, isn't she in love with you!

Do you love me?

Far too much.

I couldn't bear

this cold, eternal place without you.

Oh. Do you hate it, then?

Mm.

If you weren't here,

it would kill the very quick of my life.

It's good that we're warm and together.

We're going to come off!

We're going to come off!

Oh! Oh!

Ah...!

- Oh!

- It wasn't too much for you?

No! Oh...!

It was the most...complete moment

of my life.

Oh...!

Hey. See you down there.

We're going to have another go. Bye!

Hey...

Hey, Prune. Isn't it interesting?

Herr Loerke is doing a great frieze

for a factory in Cologne.

Was it for the outside? Mm.

The outside, the street.

So, you are an artist.

I knew it.

You know...

I think that the machinery...

...the acts of labour are beautiful,

extremely beautiful.

The factory of today must be

...the Parthenon.

Oh. You believe art should serve industry?

Ah...art should interpret industry.

As art once interpreted religion.

Gudrun is an artist as well, you know.

Oh...

What do you do?

I'm a sculptress.

And what do you sculpt?

Animals. Birds.

Knick-knacks for the rich, eh?

Oh...

Huh? You're not an artist.

You've never worked as the world works.

Yes, I have.

And I do.

Have you known what is

to lie in bed for three days,

because you had nothing to eat?

In a room with three other families

and a toilet in the middle.

A big pan, with a plank on it.

And your father making love.

Love....

to a street whore, on the corner.

Do you understand?

How old are you?

Twenty-six.

Your husband?

Thirty-one.

Come along.

I will show you something interesting.

Oh...

Well...

Allez, allez!

I'll show you something.

This is... No, this.

My...factories. Colossal!

Oh...

Something special.

Look.

It is beautiful.

Why did you make the horse so stiff?

Stiff?

Yes. Stiff.

I mean,

look at that stock, stupid, brutal thing.

A horse is a very sensitive creature.

Quite delicate, really.

But sensitive.

Well...

it's not the picture of a friendly horse

to which you give a lump of sugar.

It's part of a work of art.

It has no relation

with anything that's...outside.

the work of art.

Yes, but it's still a picture of a horse,

isn't it?

Certainly. It's not a picture of a cow.

Certainly not.

Where is she now, the model?

She was a nuisance.

Not for a minute would she keep still.

Not until I'd slap her hard

and make her cry.

Then she'd sit for...

five minutes.

Did you really slap her?

Yes, I did.

Harder than I have ever beat

anything in my life.

I had to.

For the sake of my art.

Well, love has no place

in your world of art.

L'amour, l'amour. Die Liebe.

I detest it in every language.

What does this matter,

if I wear this hat or another?

So, love...

is only for convenience.

I would give...everything...

everything....

all your love...

for a little companionship

and intelligence.

Rupert.

I want to go away.

- Do you?

- Mm. Don't you?

Well, I haven't thought about it.

- Mm?

- I haven't thought about it.

Oh, I....hate the snow!

The unnatural light it throws on everybody.

Oh, the...

ghastly...glamour of it all.

And...the unnatural feelings

it makes everybody have.

Well, we can go away if you like.

We can go away tomorrow.

We can go to Verona.

And find Romeo and Juliet

and sit in the amphitheatre.

Oh, yes!

Yes, I'd love to be Romeo and Juliet.

A fearfully cold wind

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D.H. Lawrence

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Submitted on August 05, 2018

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