Sons and Lovers (1960 film)

Plot

A young man with artistic talent who lives in a close-knit, English coal-mining town during the early 20th century finds himself inhibited by his emotionally manipulative, domineering mother — a literary, psychological interpretation of the Oedipus story. Gertrude Morel, miserable in her marriage, puts her hope into her son, Paul. In her attempt to manipulate Paul's life she jealously attempts to prevent Paul from having a relationship with any woman. However, Paul goes to the city for a job and becomes enchanted with self-actualized and "liberated" feminist co-worker, Mrs. Clara Dawes, who is married. Paul and Clara become involved sexually and Clara realizes that Paul's emotional attachment, as with her own, lies with another person — in Paul's case, his mother. Gertrude learns of Paul's involvement with Clara, and she slips into a morose depression and physical sickness. Paul flees to his mother, to care for her and sit by her side. After his mother's death, Paul meets the girlfriend of his youth, Miriam, and tells her that because of his codependency with his mother he intends to live the rest of his life without any serious relationship with another woman — in essence fulfilling his mother's desire and objective. The film does not deal with a pivotal episode in the novel, wherein a distraught Paul ends his mother's suffering by giving her a massive overdose of morphia, a potent opiate analgesic drug.

Cast

Production

The movie was filmed on location in Nottingham, England and at the Pinewood Studios, Iver Heath, Buckinghamshire, England. The musical theme by Mario Nascimbene was popular and was arranged for both piano and orchestra.

Reception

Bosley Crowther of the New York Times said: "Sons and Lovers is sensitively felt and photographed in Jerry Wald's British-made film version of (Lawrence's novel). ... Jack Cardiff, cameraman turned director, has filled it with picture poetry. ... The drabness of a north-of-England coal town, the warmth of a poor coal miner's home, the bleakness of the wintry English country near Eastwood, where Lawrence was born — all are caught and concentrated in this film, appropriately black-and-white, which puts forth the generalized Lawrence story in a stunning pictorial style. ... (T)he most dynamic and emotional character in the film is the discarded miner-father, played brilliantly by Trevor Howard. His frequent violent flare-ups of rebellion, his pitiful complaints of chagrin and his always underflowing indications of a sense of being not wanted and alone are perhaps the most clear articulations of the theme of frustration in the tale. Through him is expressed most intensely the realization of the mortality of young love."