The French Lieutenant's Woman (1981)
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as Charles Henry Smithson/Mike
as Girl in Asylum
as Dr. Grogan
as Sir Tom
as Mrs. Poulteney
as Mr. Freeman
as Mr. Freeman's Clerk
as Mrs. Fairley
as Dr. Grogan's housekeeper
as Mrs. Tranter
as Betty Anne
as Assistant #3
as Lady on Train
as Delivery Boy
as Mrs. Tranter's Maid
as Girl on Undercliff
as Boy on Undercliff
as Asylum Keeper
as Mrs. Endicott
as Mrs. Poulteney's Maid
as Au Pair
as Red-Haired Prostitute
as Prostitute #2
as Tom Elliott
as Girl #2
as Young Girl in Lyme Street
as Wharf Commissionaire
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Critic Reviews for The French Lieutenant's Woman
It is ironic that the framing device, which is meant to draw our attention to the constructed nature of it all, doesn't work nearly as well and ultimately fails to derail our enjoyment of that which we're supposed to be questioning.
A lush period drama that also manages to criticize outmoded patriarchal standards.
Playing a dual (Oscar-nominated) role, Meryl Streep is much more convincing in the contemporay tale.
A gripping psychological study of the war between the sexes that asks the question: Are we happier, wiser, more liberated, than the Victorian characters in the story?
the film comes off as an academic exercise instead of a living, breathing testament to the ideas it presents.
Audience Reviews for The French Lieutenant's Woman
This film interweaves two two-character dramas: as adulterous actors film a melodrama about a 19th Century adulterous couple, they begin to develop their own off-the-set feelings. As a fan of his stage work and the film The Last Tycoon, I was excited to see more of Harold Pinter's work, but The French Lieutenant's Woman conspicuously lacks Pinter's characteristic pregnant pauses and focus on subtext. Yes, there's is a short scene between Smithson and his servant when we're to understand that the latter is blackmailing the former, but it's hardly as rich as Pinter's stage work. My expectations notwithstanding, the script provides us with precious few compelling scenes. More importantly, for most of the film I was unsure about why these two stories were being juxtaposed. What is this film saying about relationships and adultery? Sometimes it works, sometimes not? It's destructive? Either way, there's not much to sink our teeth into. Jeremy Irons and Meryl Streep try their best to wring some meta-textual complexity out of the story, but whereas Roger Ebert sees depth in their performances - he states, "Everything they say and do has another level of meaning, because we know the 'real' relationship between the actors themselves" - I saw actors and characters divorced, separated, as though these were two films that happened to be cut together. Thus, what I think is true of the script is also true of the performances. Overall, the film's attempt to become greater than the sum of its parts only leaves us confused.
Extremely well done, slow and deliberate unraveling of two intertwined love stories.
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