Filhos e Amantes

Two mothers in this story control the destiny of their children and not in good ways. Believable performances across the board. Dean Stockwell seems to have acquired his "English accent" from Roddy McDowell but it only slips a few times.

Highlights of casting: the penultimate appearance of DR. Pretorius (Ernest Thesinger) and an early, all too brief, Donald Pleasance with an amazing combover.

Not a "fun" movie but enjoyable.

This exquisite adaptation of D.H. Lawrence's novel is famed cinematographer Jack Cardiff's most accomplished film as a director; in fact, he was nominated and indeed won several major Best Direction awards (including the Golden Globe). Sadly, none of his other directorial efforts were anywhere near as rewarding although I'd still like to watch at least 2 of them - the epic THE LONG SHIPS (1963) and the horror film THE MUTATIONS (1974; a SE DVD of which has been released under the title THE FREAKMAKER).

Amazingly, this was a Hollywood production (made by 20th Century Fox) and, as such, leading man Dean Stockwell (who was probably never better) was imposed on Cardiff by producer Jerry Wald - though he seems to have been pleased with his performance. The acting of the Oscar-nominated Trevor Howard (as Stockwell's boorish and drunkard coal-miner father) and Mary Ure (as the married but separated young suffragette with whom Stockwell has an affair), as well as Wendy Hiller (as his strong but possessive mother), is irreproachable. The supporting cast includes Ernest Thesiger (in one of his last films) and Donald Pleasence, with both unfortunately having limited screen-time.

Freddie Francis' luminous black-and-white cinematography earned the film its only Oscar; interestingly, Francis also followed in Cardiff's footsteps and became a film director himself (with similarly erratic results, ironically enough). Mario Nascimbene's lovely music score and the film's vivid recreation of an era (in authentic locations, no less) add immeasurably to its lasting impression.

The coal-mine setting recalls earlier films like Carol Reed's THE STARS LOOK DOWN (1939) and John Ford's HOW GREEN WAS MY VALLEY (1941), with which it can be favorably compared. Still, for all its quaint Englishness and the inherent sentimentality of its narrative, the film is a remarkably adult and frank depiction of sexual and artistic awakening vis-à-vis repressed Edwardian society and, together with Ken Russell's equally celebrated adaptation of WOMEN IN LOVE (1969), remains undoubtedly the finest screen rendition of D. H. Lawrence's work.

It's a shame, therefore, that this is as yet unavailable on R1 DVD but the R2 edition I own is a more than adequate substitute, with a very nice-looking print of the main feature, surprisingly strong audio and, apart from the basic supplements of the original theatrical trailer and a stills gallery, features a wonderful interview with Cardiff about the making of SONS AND LOVERS (interspersed with relevant clips from the film itself) which clocks in at around half-an-hour.

This is perhaps Jack Cardiff's best known film as a director, and it is certainly not a letdown. 'Sons and Lovers' was DH Lawrence's most autobiographical novel, and here, although some aspects have been shorn down or removed, the substance of that novel comes through.

In the main roles we have US actor Dean Stockwell as Paul Morel, the son who is suffocated by his overbearing mother, and derided by his miner father. His parents are played by Wendy Hiller and Trevor Howard, and they are brilliant in difficult roles. Stockwell, less so, although he certainly looks the part.

The women in Paul's life are played by Heather Sears - another annoying part as Miriam which reminds me of her 'Room at the Top' performance a few years earlier - and Mary Ure, who is a little bland but watchable as Clara. Somehow Ure never really found her niche on the screen.

The film looks sumptuous and the black and white photography is exactly right. There are moving scenes and moments of comedy, plus a wicked cameo appearance by Ernest Thiesinger as an art collector.

This film is much less known than more showy Lawrence adaptations such as 'Women in Love', but it is excellent, well-paced, and is far from a disappointment.

How can there be so little attention and knowledge about this film? Nominated for SEVEN academy awards including Best Picture!

I have always felt that CinemaScope was made for B&W films. Scope films look really good B&W. And to my mind the best B&W photographed movie of All Time is SONS & LOVERS. This was a prestige picture for distributor 20th Century-Fox, as indicated by the rare lack of drum roll over the Fox Logo - instead the beginning of the outstanding music score is heard. In the Chicagoland area in 1960 and again at a theatre in Okland, CA in 1976 I had the pleasure to view the film with Mag Stereo Sound. I also saw a new print in NYC sometime in the early 80's. So why has Fox let this picture set in obscurity? My only knowlege of any TV exposure was on American Movie Classics Channel (scanned only) about ten years ago. This one NEEDS to be on DVD!!!!!!!!

One last comment. if you've ever read the book, you will really appreciate the great job that was done in "adapting" the novel. The screenplay, which is SO well done, is I'd say a good 80% original material.

Freddie Francis's cinematography is in some ways the star. It is not showy or intrusive. It's totally organic to the unfolding of the plot. Yet it is exquisite -- both with landscapes and with actors. This is especially true with Trevor Howard, very powerful as a boozy miner.

The other star is that great actress Wendy Hiller. Her role is far from entirely sympathetic. She suffocates her favorite son, well played by Dean Stockwell. She is demanding in a quiet way and selfish in a manner passing itself off as martyrdom. But what a gorgeous performance! Mary Ure was a fine actress. Somehow, though, the character she plays doesn't entirely work in my view. It seems more from kitchen-sink realism, like the Shelagh Delaney plays that were filmed around this time. (And where have they gone? Why don't we ever see "A Taste of Honey" or "The Leather Boys" anymore?) Heather Sears is good but I have to admit, to my embarrassment, I found it hard to shake her excellent performance in the tile role of "The Story of Esther Costello" from my mind. Her being a bright young woman taken with Stockwell, therefore, startled me throughout. That is my own failing and surely not hers.

This is a superb movie. All of it is good. But for me, the scenes involving Hiller are the most compelling. Howard, too, is superb. And Stockwell as Paul. The family story is heart-wrenching.