Sons and Lovers (1960)

I like the storyline of this show,it attract me so much

A lot more amusing than I thought it would be.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

Exactly the movie you think it is, but not the movie you want it to be.

This is an admirable adaptation of the 1913 D.H. Lawrence novel of the same name. The story concentrates on young Paul Morel and the relationships among him, his parents, his brothers, and his two lovers. This is a case where the title provides a good synopsis.The relationships are complex. Paul's father is a rough coal miner and his relationship with his wife is quarrelsome. We get a glimpse into how that relationship came to be, when in fact they were lovers. The intense relationship between Paul and his mother is at the core of the story--the dynamics of all the relationships are spin-offs of this central one. Paul talks of wanting to be free while being uncommonly devoted to his mother; this emotional tug-of-war is central to Paul's personality.Trevor Howard is wonderful as the father and the rest of the cast does not lag far behind. Contrary to some opinions, I found that Dean Stockwell was well cast as the sensitive, emotional young Paul.The filming is truly outstanding, earning Freddie Francis an Oscar for best cinematography. The composition of every scene reflects the work of a superb visual artist. Francis' ability to exploit the black and white CinemaScope format is a joy to behold. The 2.35:1 aspect creates a tremendous sense of freedom, making any other format seem rather claustrophobic. Black and white photography is ideally suited to the stark emotional and physical environment of this movie, a movie that depends a lot on facial expressions. I sincerely regret the passing of the art form of this super wide screen black and white filming. The most recent movies to film in this format, exclusively in black and white, are Woody Allen's "Manhattan," and "The Elephant Man" in 1980. Think how the facial closeups would lose impact if filmed in color, and how the scene with the young couple frolicking on the beach would be made insignificant. The final scene between Paul and his first girlfriend, Miriam, is so beautifully filmed as to make it hard to forget.The dialog is subtle and insightful, thanks to a good screenplay, but also thanks to D.H. Lawrence I assume. Consider this comment Miriam makes to Paul when he suggests they call it quits: "I could hate you for making me love you. Making me fail you."The only minor negative comment I can come up with is that the music gets a bit too aggressive on occasion.This movie deserved its seven Oscar nominations and it puzzles me as to why it is not more honored in film history.

I am pretty sure D. H. Lawrence's "Sons and Lovers" was considered a rather shocking book when it debuted in the early 20th century. The book had a male lead (Paul) who was sexual--sleeping with both his girlfriend as well as having an affair with a married woman. In the book and in this movie, this could have been a lot more explicit but due to conventions of the day it's somewhat muted--but still very much a groundbreaking sort of story (the same can be said for Lawrence's later book, "Lady Chatterly's Lover"). So in that sense, the film is interesting to any film student since it is rather frank and unusual when it comes to sex.The acting is quite nice. While Dean Stockwell was an American, he did a credible job playing a Brit in the lead. As for the rest of the cast, they are also quite good though two performances struck me. Trevor Howard usually played refined roles--upper or at least middle-class gentlemen. Here, he's a crude coal miner--and not the least bit likable through much of the film. The other performance, though not exactly a huge or important role, was that of Ernest Thesiger as Paul's benefactor. I loved seeing Thesinger, as this was a HUGE departure from his most famous role--an evil scientist in "The Bride of Frankenstein"! So, with a groundbreaking sort of story (that has MANY Freudian overtones) and very good acting, I loved the film, right? Well, no...not especially. This brings me to a major problem with the film--I just didn't particularly like anyone and felt very detached from them. Paul was rather selfish and cold and no one seemed particularly interesting or likable. You may not mind this--I did. Worth seeing--just not a must-see film.

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.

I probably saw this film when I was in college and it made a big impression.It then seemed to vanish, at least for me, until, amazingly, the American Cinematheque in Los Angeles screened it on a Monday night some months ago. I was extremely impressed with it again, especially the BxW CinemaScope cinematography (and I agree, wide-screen is the way to see this rare film, if indeed you ever can).So many thanks to the Cinematheque for this unusual revival.RE the musical score (by Italian composer, Mario Nascimbene): actually the theme was so melodic Percy Faith recorded it as a follow-up to his hit single of Max Steiner's SUMMER PLACE theme, (complete with similar 1950s piano triplets in the accompaniment!) In spite of the nod to '50s pop the SONS AND LOVERS theme was not a hit, but it remains one of the more lyrical (and obscure) movie themes from this period.Remember when movies actually had original musical themes????Ultimately I feel SONS AND LOVERS ranks with Russell's WOMEN IN LOVE in the admittedly small canon of excellent cinematic Lawrence adaptations.It's also one of the adult Dean Stockwell's best roles, a long, long day's journey away from the almost too adorable, curly headed moppet in ANCHORS AWEIGH.