Magee’s script doesn’t always give them enough material to play with, but Corrin runs with it and, most impressively, with a freedom that totally clicks with de Clermont-Tonnerre’s sensibilities. And yet, when the credits roll it feels like something is missing and, well, you somehow wish they’d pushed it even more.
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Even as she preserves the essential particulars of an oft-told story, de Clermont-Tonnerre draws out Lawrence’s feminism and class rage with a welcome forthrightness that occasionally translates into some overly emphatic dialogue. But as in any decent reimagining of this story, the emotional and sensual force of the central romance renders language irrelevant, body language excepted.
Despite the stars’ strong performances and the high level of craft, the film struggles in its final act.
In the end, the couple’s chemistry is off the charts, and that’s all that matters — though there’s still a too-tasteful David Hamilton-like quality to it all.
Often draped over each other like a pair of gorgeous statues, O’Donnell and Corrin strike palpable chemistry throughout, selling both their desire for one another and the consequent love born out of it believably.