The Rainbow

Why do some reviewers think this is a bad movie? There is nothing bad about it at all; unless you are some exceptional prude. Both Sammi Davis and Amanda Donahoe give outstanding performances. The chemistry between the two that was just glimpsed in "The Lair of the White Worm" comes to a beautiful frutation in this movie. That said, it should be noted that females have the primary roles in this movie unlike in "Lair" where Hugh Grant upstaged Amanda and drove Sammi into a virtually insignificant role. Perhaps that is the reason; movies that have women as leads are boycotted by the male audience.

Regardless of why, this movie got a lot less credit than it deserved. I hope it comes out on DVD in the near future.

I loved this film. I went through a big DH Lawrence phase in my late teens and early 20's, and Ursula and Gudrun from Women In Love and The Rainbow were characters I loved and related to, despite and because of their flaws.

This is a beautifully written and filmed story of a young woman who just wants more than her ugly industrial town has to offer. She is influenced by a couple of unconventional older people in her life. I thought it was a sensual portrait of bisexuality and creative freedom

Despite the film's many flaws- it is loosely based on only a section of DH Lawrence's Northern saga, the lead actress is fairly wooden and the style of the film screams eighties cheese- I think it's a great little film. It's one of those few films that not simply inspire you to follow your dreams but actually insists that you do so, whether those dreams come to fruition or not.

It's set in a mining town in the 1910's. Ursula Brangwen (Sammi Davis- no, not THAT one) is a rebellious teenager and persistent dreamer, constantly striving for 'the rainbow' that symbolises fulfilment. She pursues it in two different ways; one through trying to gain work as a schoolteacher, thereby becoming financially independent, and because this is DH Lawrence directed by Ken Russell, sexual fulfilment.

Though she shares a naughty kiss in the local church with family friend and dashing soldier Anton Skrebensky (Paul McGann), it is Ursula's female swimming instructor Winifred Inger (Amanda Donohoe) that gives her her first sexual experience. Ursula is devoted to her but Inger's experience outweighs Ursula's innocence. There is nudity here but no big love scene. It's actually fairly restrained for Russell, and for once it actually feels appropriate for the film.

Ursula moves back to sexy soldier Skrebensky (try saying that out loud) and experiences true Freudian bliss against a tree with a gushing waterfall behind it. Now that's more like Russell, isn't it? It's not pornographic but it's a bit raunchier than Colin Firth's wet shirt. Perhaps not the best viewing for teatime with the family. Still, Paul McGann is a suitable substitute for eye candy; it's very much a film for the women.

The love scenes are shot in an interesting way. Ursula never seems to fully connect as part of the couple- or if she does, the camera doesn't care. The focus is on Ursula's reactions so Russell uses techniques like jump cuts- although this makes one love scene unintentionally hilarious.

Acting-wise, I'm glad that they didn't cast a star. Yes, Davis was not going to be the next Elizabeth Taylor but her inexperience works perfectly for the film. Ursula has not fully worked out her character yet but only that she has a drive to do something different with her life and make more of herself. Because the film is very condensed, the actors have less to work with, which is why Donohoe's character comes off more as a type. Still, I think she conveys an interesting image of a very masculine woman. McGann is a brilliant actor and despite being the obvious eye candy (indeed,a shot of Skrebensky and Ursula by the waterfall graces the film's poster), he manages to show that Skrebensky is also a slave to convention. As Ursula tells him, "I'd rather be swept off my feet by a half-naked robber than a soldier defending my honour". Sassy! Yes, it's not perfect but I think that it's well worth a watch. This is period drama that has genuine relevance to modern life and modern concerns, and is a great coming-of-age story with a brave and life-inspiring message.

Director Ken Russell tones down his typically flamboyant style (somewhat) for this adaptation of the D.H. Lawrence novel, celebrating yet another free spirit on the verge of womanhood, yearning for independence within the moral and emotional straightjacket of Victorian England. True to the spirit of its source the script presents lots of earnest dialogue discussing the nature of men and women, sandwiched between scenes of elemental passions unleashed and a little cavorting naked in Arcadian splendor. Some of it is fresh and exciting, other parts are strangely anachronistic, and the best moments occur after the heroine leaves home to seek her fortune as a schoolteacher in the urban slums of London's Industrial Revolution. The young and talented Sammi Davis isn't quite ready to carry an entire film by herself, but a fine supporting cast capably shoulders much of the dramatic burden. Russell's atypically circumspect direction slips only twice: when Davis surrenders her virginity to soldier boy Paul McGann, and again when she finds herself suddenly pursued on a country road by (symbolically) a herd of stampeding horses.

Based on DH Lawrence's novel, it centres on Ursula (Sammi Davis) a young girl, used to a perfectly decent life in early 20th Century England. A staunch feminist living in a man's world, she grows intellectually and sexually into womanhood determining despite bi sexual romances and ultimately a challenging job as a teacher that she will remain her own woman.

Remarkably calm and engaging piece of work from maverick director Ken Russell, that nicely follows the aspirations of a young girl through to womanhood, including her battles with bosses, her father and partners. Davis is good in the lead but the film's strengths is also maintained by a very strong supporting cast including Russell stalwart's Glenda Jackson and Christopher Gable.

Beautiful score by Carl Davis.