Most of us know the story, but for those who do not: in early Twentieth Century England, a posh bird trapped in a sexless marriage to a toff falls for the fertile charms of a bit of rough. The end.

Except... director Laure de Clermont-Tonnerre's version of the story was - according to the programme for the 2022 London Film Festival, where I saw the production - supposed to build on the character of Constance Chatterley, making her more than the voracious sexpot she is sometimes portrayed as. But even the Sylvia Kristel version gave Lady C a social conscience, and portrayed her as capable of greater things had societal expectations not condemned her to life as merely her husband's hostess. The only difference in this version is Connie is a bit stroppier.

Also, whereas previous versions have delved into Clifford Chatterley's character in an at least partially sympathetic manner, there is none of that here: as portrayed by Matthew Duckett he is chipper enough, but also the stereotyped, one-dimensional English snob ("Why can't the working classes be grateful?" etc). There is no sign of the anguish most men would feel on having their ability to walk - let along have sex! - taken from them. Again, previous versions have done it better.

And the sex scenes are not very good, either!

On the other hand, Joely Richardson's version of Mrs Bolton is an improvement on previous versions, being warm and supportive to both Connie and Clifford. This is the first non-glamorous role I have seen Richardson take on, and she is the best thing in the film.

I hope anyone considering future adaptations of Lawrence's novel follows the example of many Shakespeare adaptations by keeping the basic plot but changing other things: set it further in the past, or in the future; locate it in Asia or Africa with an appropriately-ethnic cast; make it gay or lesbian. Anything to add a bit of originality into this much-adapted story.

This production of LADY CHATTERLEY'S LOVER neatly summarizes the plot of the novel upon which it is based, and it retains a surprising amount of the naughty bits that earned the novel its notoriety. In the process of condensing the story, the filmmakers lost some of its emotional appeal. Emma Corrin in particular brings depth to an underwritten role, but the rest of the cast capably acquit themselves with similarly underdeveloped material. Unfortunately, the romance often feels more like something that hits the beats of the story rather than something genuine and romantic or erotic. Most of the production values are good.