The biggest draw for seeing 'The French Lieutenant's Woman' in the first place was the casting of Meryl Streep and Jeremy Irons, hold both in very high regard and love both in a lot of roles. John Fowles' novel is nothing short of masterful, but due to the parallel story within a story/film within a film storytelling mainly it is not easy to adapt to put it lightly. Who better to adapt it though than Harold Pinter, a highly intelligent and thought-provoking writer.
Found 'The French Lieutenant's' Woman' to be a very well done film with many fantastic things, and the enormous amount of talent in front of and behind the camera is far from wasted. Although one storyline is better handled than the other, a great job is done adapting Fowles' novel and with little sign really of being taxed. Source material that is near-unadaptable, but 'The French Lieutenant's Woman' is a rare case of adaptations of unfilmable novels done well and with less of a sense of being adapted from something that should have been left alone.
As said, 'The French Lieutenant's Woman' is more successful with one story than the other. The modern day storyline, while still intelligently handled and beautifully made and acted especially, is not as involving with a tendency to drag and feel a touch cold.
Did feel at times that the back and forth doesn't always flow and has its jarring moments early on.
On the other hand, Freddie Francis as cinematographer was always a plus and to me 'The French Lieutenant's Woman' contains some of his best non-horror cinematography. It is hauntingly gorgeous, especially in the Victorian historic storyline with some of the shots of Streep staying with one forever. The period detail is the very meaning of sumptuous. Adding hugely to the atmosphere is Carl Davis' music score, also a fine score on its own where the haunting power of the story is reflected in every note featuring some of the most effective solo viola writing and playing on film.
Pinter's script is concise and thought-provoking in a way that's distinctive of him while showing much respect to Fowles. Karel Reisz's direction is suitably reserved which suits the Victorian storyline perfectly, without being over-clinical and the claustrophobic atmosphere is powerfully done. Much of the story is compelling and passionate with the Victorian storyline in my mind being a triumph, carried by the searing chemistry between Streep and Irons. The richness and complexity of the source material is obvious throughout without being too literal.
While all the supporting cast are fine, with David Warner a standout, it's Streep and Irons that stay with the viewer most. Streep received her first Oscar nomination for her powerful dual role performance and deserved it, while along with 'Brideshead Revisited' this was the role that made Irons (also playing two characters) a sensation and he is every bit Streep's equal. They sear together onscreen.
In summary, very well done. 7/10
Found 'The French Lieutenant's' Woman' to be a very well done film with many fantastic things, and the enormous amount of talent in front of and behind the camera is far from wasted. Although one storyline is better handled than the other, a great job is done adapting Fowles' novel and with little sign really of being taxed. Source material that is near-unadaptable, but 'The French Lieutenant's Woman' is a rare case of adaptations of unfilmable novels done well and with less of a sense of being adapted from something that should have been left alone.
As said, 'The French Lieutenant's Woman' is more successful with one story than the other. The modern day storyline, while still intelligently handled and beautifully made and acted especially, is not as involving with a tendency to drag and feel a touch cold.
Did feel at times that the back and forth doesn't always flow and has its jarring moments early on.
On the other hand, Freddie Francis as cinematographer was always a plus and to me 'The French Lieutenant's Woman' contains some of his best non-horror cinematography. It is hauntingly gorgeous, especially in the Victorian historic storyline with some of the shots of Streep staying with one forever. The period detail is the very meaning of sumptuous. Adding hugely to the atmosphere is Carl Davis' music score, also a fine score on its own where the haunting power of the story is reflected in every note featuring some of the most effective solo viola writing and playing on film.
Pinter's script is concise and thought-provoking in a way that's distinctive of him while showing much respect to Fowles. Karel Reisz's direction is suitably reserved which suits the Victorian storyline perfectly, without being over-clinical and the claustrophobic atmosphere is powerfully done. Much of the story is compelling and passionate with the Victorian storyline in my mind being a triumph, carried by the searing chemistry between Streep and Irons. The richness and complexity of the source material is obvious throughout without being too literal.
While all the supporting cast are fine, with David Warner a standout, it's Streep and Irons that stay with the viewer most. Streep received her first Oscar nomination for her powerful dual role performance and deserved it, while along with 'Brideshead Revisited' this was the role that made Irons (also playing two characters) a sensation and he is every bit Streep's equal. They sear together onscreen.
In summary, very well done. 7/10