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In fact, the production’s historical meticulousness took me by surprise.
These biographical factors may possibly have produced Mercurio’s emphasis on class and coal-mining.
Likewise his career as an army doctor may have generated his emphasis on the First World War, which shatters Lord Clifford, and the scene of Clifford’s medical self-torture in an attempt to ejaculate. There are enough avoidable wars, traumatised veterans and widening inequality around today to provide inspiration for these elements.
Lawrence would have hoped that his novel wasn’t quite so relevant to 2015; but there we are.
I asked what Mercurio was going to do with the scenes that enraged Second Wave feminists (Connie’s penis-worshipping and Mellors’s clitoris-dissing). This seemed fair enough from an adapter who had to reduce 300 pages to 90 minutes, who believed that the novel was on balance more for than against women, and who recognised that both Mellors and Clifford were knowing representations of aspects of the dying Lawrence.
But Mercurio had a job convincing me that including male-to-female oral sex was a good idea.