The mining town of Nottingham in 1905. Walter Morel down into the mine since the age of fourteen years and does not understand that her children are reluctant to follow his example. William the eldest, went to work in London and Paul, who shows special artistic thinking of a bureaucrat's job. Only the youngest, Arthur, worked with his father. But one day he was killed in an explosion ...
legendary cinematographer for the greatest of Hitchcock Mankiewicz through Powell / Pressburger, Albert Lewin, the great Jack Cardiff was equal to all the great masters he had associated with going behind the camera with the third film, wonderful adaptation of the novel by DH Lawrence.
The story is actually the initiatory journey of Paul Morel (Dean Stockwell), a young dreamer and exalted in the hope that the addition of a greyish-mining town where he vegetate. Employment prospects are not much further than mine, whose arduous doom and wear are hardened and embittered his father and which he will soon lose his younger brother. For painting her with little hope for him to leave a promising career in London but much more insurmountable obstacles that hold the physical or material. There is first of all disappointed by her mother's life that stifles an exclusive love and bases a huge expectations on him, but also a framework of archaic local Conservative in opposition to his thirst for freedom. 
Scenario transcribed with infinite subtlety and considerable daring themes of the novel whether family relationships or love of the hero. Cardiff beautifully captures the domestic setting made noxious by a life of bitterness Trevor Howard (most excellent workman in the mine so lout) in rustic mining worker was left with time and humiliation of his wife who despises him sink into alcoholism. Wendy Hiller in abusive mother is the character most complex and fascinating film, which opens overprotecting her son's mind but also makes it unable undecided to act by and for itself. 
From the first sequence, familiarity and closeness between them reveals a relationship as intense as harmful where despite its harshness it can only be saddened for Trevor Howard consistently excluded from the most intimate confidences exchanged. For no one ever doubted the sincere love that unites this family through a few warm moments as the Christmas meal. Dean Stockwell with his hard features and a male cross-up juvenile perfectly expresses the dilemma that this character is no longer a boy but not yet a man. This transition could be achieved by met the woman but then again new obstacle arises in the two female figures shown. 
one side pure love, sincere and exclusive Miriam Leivers (Heather Sears), but only spiritually by the lack of a rural bigotry bordering on frigidity insurmountable. On the other there is the sensuality and the free spirit of Clara Dawes (Mary Ure beautiful) but whose heart is not totally free from the spirit of her husband. The roles could be reversed even as Miriam in a sacrificial spirit is ready to submit to the carnal act of sacrificial way when Clara under his unconventionality proved to be a wife like any other. The film thus raises fascinating questions about feminism, the essence of the couple and sex explicit in the dialogue and situations. 
A feature films cinematographer's always just been sumptuously photographed (sometimes if the rest if you fall ill). Sons and Lovers no exception to the rule with what is without doubt the most beautiful black and white movie seen in the 60's with sumptuous work of the great Freddie Francis probably assisted by Cardiff itself. The rural atmosphere is palpable in the misty moors and forest stretching out of sight, the deep black as intense as the tortured mind of the character all in perfect frames in scope and inspiration pronounced pictorial and imaginative. 
sex scenes obey this aesthetic and sophistication of this story. The tender moments with the timid and Miriam are often filmed at a distance including the fateful night with her kiss and hug the far unshared pleasure where a view of the sky (as a sign of this religious guilt) and then outside the barn we makes to foreign events. In contrast sensuality with Mary Ure sequences retain all their appeal today as the slow rise of desire to trade in this regard and then times when Paul leaves his room to contemplate Rachel naked by the fireplace before they wildly embrace. Later it will be after the torpor of love that will be seen in all its natural when Mary Ure will lasciviously lying on the bed facing her lover topless in front of the window. 
The conclusion is ambiguous open with his hero released by the force of things but now the dry heart, all fates available to it but the road to get there will be have been too painful this particular scene of mourning sober and heartbreaking. Superb film, probably the best director of Cardiff with radically different Last Train Katanga . Released on DVD in region 2 French Opening
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