Priest of Love

I remember this movie very well from 23 years ago. It came out at the same time as did REDS, which is coming out in DVD soon. Why not Priest of Love? The film details D.H. Lawrence's stand against World War I, his stormy relationship with his wife Frieda, his conflict with the authorities, his bisexual leanings. Ian McKellan is excellent, as is his co-star, Janet Suzman, as Frieda. In many ways, D.H. Lawrence was a powerful forerunner of that great prodigal student of Freud, Wilhelm Reich, with his writings on human sexuality and its fundamental importance to our psychology. This is truly a great movie, well photographed, from what I remember, dealing with still controversial, relevant topics for today.

I must say, this poignant drama about one of the greatest authors/poets, filled with wonderful, top shelf actors rmade my movie night. POL is an engaging if engrossing drama, which recounts the banning of DH Lawrence's books, and paintings, which at the time, went against what was acceptable, where Lawrence's work was sort of pushing, pornographic boundaries, which today, would be seen in a much more normal light. It's opening sees the grand trashing of one of his awesome sellers, by authority. DH Lawrence was the guy responsible for the notorious and raunchy Lady Chatterly's lover, which Lawrence based on his older wife, who on impulse, just took off with him, leaving her three children and hubby. The story is a little bit patchy, but really, it's the awesome actors which take away from that, and the story is an interesting journey of a liternary geniius. There are some wonderfully shot locations, villa's where Lawrence spent time, while his cancerous health deteriorated, where on occassions he was coughing up phlegm and blood, one scene, quite alertiing. You can't go wrong when you have actors of McKellen's, Suzman's, Gardener's, Keith's stature. Their all A1, there's actually no real competition, as they're just all perfect here, as is the less shown Gielgud, a police seargeant, who banished and seized Lawrence's works, where one gets the impression, there's a more personal attack, grudge. I actually found it hard to believe Gielgud's character's earlier profession, as he seemed much different. Keith, who once was the ambassador for the Continental soup ads in the 80's, as was the great Robert Morley, is just a delight as a sort of, floozie tag along wirth DH Lawrence and wifie. Her character was probably my favorite, in some ways, sad, and pitiful. I really liked this close trio, living for today, not tomorrow. Lawrence had some pretty violent moodswings, his anger exploding out of nowhere, where mostly, it was physically transferred on older wifie, Suzman. Some scenes, which you can see in the prieview, use that special atmospheric which truly gives meaning to the scenes. Trivia note- another of Lawrence's trashed books, Kangaroo, which we see as another hit for the author here, became an Aussie film, with Colin Friels, but sadly cinema wise, made more of a thud. Great period piece film for 1981, I suggest, you see POL. It might just entice you.

Looks at the later part of DH Lawrence's life with his beloved wife Frieda and their frequent movement from one country to another against a background of controversy and book banning / burning back in his native country.

The lead performances are believable and interesting and the second half is more accessible and enlightening than the first as you get closer to the couple's lives and Lawrence's vigorous self belief. The first half though is played out too fast, moving very quickly across the globe with the man having hissy fits with little explanation. Nice support from Penelope Keith.

Probably needs watching more than once.

My review was written in August 1981 after a screening (of the original version) in Times Square: Christopher Miles's "Priest of Love" is an impressively mounted and acted biopic dealing with the latter years in the life of author D. H. Lawrence. Reunited with screenwriter Alan Plater who wrote his filmization of Lawrence's "The Virgin and the Gypsy", Miles takes a somewhat removed and cool look at his subject, with emphasis on accuracy over emotional involvement making the pic a tough sell beyond its natural art house market.

Picture opens in 1924 with Lawrence (Ian McKellen), wife Frieda (Janet Suzman) and their friend Dorothy Brett (Penelope Keith) en route to Taos, New Mexico, for a self-imposed exile at the house of art patroness Mabel Doge Luhan (Ava Gardner). Back in Britain his books have been banned by the censor, Herbert Muskett (an effectively stern cameo by John Gielgud).

In a typical scene, Lawrence becomes irrational at a party and out of control, slaps Frieda around violently and breaks all the dishes, causing a speedy departure from Taos. Also characteristic is couple's unsympathetic decision to send Dorothy away. Amongst flashbacks detailing economically Lawrence's youth in Cornwall, Miles emphasizes the duo's sojourn in Italy at a villa in Florence provided by a new patron, Angelo Ravagli (Maurizio Merli). Lawrence writes "Lady Chatterley's Lover" there, with impressive care for detail in footage shot at the same Italian printing press where the book was first printed.

Key scenes involve the fearless duo pushing relentlessly for the truth in a sexual manifesto in literature (establishing Frieda as D. H.'s literary collaborator) and tasteful scenes indicating his bisexuality (with a youth nude bathing at an Italian seashore), plus relentless selfishness in inviting Dorothy to bed and then spurning her suddenly.

Dominated by pastoral landscape photography, pic lacks a dramatic edge, with D. H.'s battle from afar with the censor and his impending death by tuberculosis carrying little impact. Coda has Rapagli replacing the deceased Lawrence in Frieda's life and a happy ending for the life-loving survivors, whose joyous celebrations comically extend to absent-mindedly leaving Lawrence's coffin behind at the train station.

Director Miles and actor McKellen create a Lawrence who engages one's intellectual sympathy and is an arresting multi-dimensional figure (even given to an hilarious Gielgud impersonation mocking the censor), but whose selfishness and physical manhandling of Frieda clearly cut off a viewer's emotional support for the character. Too infrequently seen in films, McKellen gives a bravura performance, all the more remarkable for its avoidance of easy empathy. Veteran of a one-woman show on stage as Frieda, Janet Suzman is given her head by Miles and turns in a flamboyant, explosive turn which prevents the film from being dominated by McKellen.

Supporting cast is well-chosen with Ava Gardner looking great and utterly convincing in her best role in years as duo's free-spirited American connection. British comedienne Penelope Keith is the spitting image of her real-life counterpart, but Miles has not curbed her natural comic bent in what should be a straight role. Amongst minor players, Mexican matinee idol Jorge Rivero is well-used as Gardner's sexy young husband, while Italian singer/heartthrob Massimo Ranieri is similarly appropriate as a virile young stud.

Working with stunning locations, Miles and lighting cameraman Ted Moore produce a series of spectacular deep-focus compositions, and wisely present the flashback material in sharp, luminous visuals rather than the cliche of soft-focus. Although Miles adopts a stately pace, he and editor Paul Davies use quick cutaways at the emotional highpoints of scenes, a device which acts to distance the audience from the characters. Joseph James' romantic musical score is good.

"Priest of Love" is a biopic about author D. H. Lawrence and his wife, Frieda. It follows them from World War I to his death in 1930.

"Priest of Love" is a rather superficial and dull biography. While D. H. Lawrence's work was very controversial in its day and resulted in some well publicized book burnings and his personal life was weird (to say the least), this film never piqued my interest. Perhaps it was the flat performances by the leads or the script. Perhaps it was because Lawrence wasn't a man whose life I would want to emulate. However, I think the main problem is that the life of Lawrence would best be summed up in a mini-series and condensing about twenty years of his life into a film is a tall order. So, because so much time passes, it comes off more like a Cliff Notes version of his exploits. My recommendation is that you instead read up on Lawrence and his life...you'll learn more and it won't be so dreadfully lifeless as this movie.