Lady Chatterley

O que talvez seja mais chocante no filme de Pascale Ferran é como a diretora conseguiu trabalhar numa sincronia perfeita entre o clássico e o moderno. Por mais que o terreno seja as entranhas do romantismo erótico de D. H. Lawrence, que escandalizaram tantos em 1928 que muitos lugares só foram conhecer a obra mais de trinta anos depois, o sentimento maior sobre o filme é o do não-pertencimento, o que, vez por outra, me evocava Reis e Rainha, de Arnaud Desplechin.

As reflexões são sobre o mundo, o amor e a fidelidade, mas a solidão – e como a personagem central tenta contorná-la – me parece interessar muito mais à diretora. Esse egoísmo assumido da protagonista é quase um clamor por um algo sólido que já deixou sua vida há muito e que, me permitam, assume a forma mais imediata de um pênis antes que vire um algo maior e menos definível. A busca, instintiva, não do animal, mas do humano, se traduz numa câmera que se lança aos caminhos do bosque ou aos caminhos da vida, como em Gus Van Sant, sem ser Gus Van Sant.

A história de Lady Chatterley não poderia mais ser somente escândalo porque era fadado ao prazo de validade, mas Ferran, em sua sabedoria de mulher, a transforma numa ode ao bruto enquanto puro, à busca pelo primário. Renova-a. Se o filme é um dos mais sensuais que o cinema das últimas décadas já viu, essa sensualidade é apenas um viés diante do desconforto do par. Ela, uma Jessica Lange dos meados dos 80. Ele, um Marlon Brando do fim dos 60. Juntos, eles nos ajudam a apalpar o mundo.

Lady Chatterley EstrelinhaEstrelinhaEstrelinhaEstrelinha
[Lady Chatterley, Pascale Ferran, 2006]

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14 thoughts on “Lady Chatterley”

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