He doesn't protest, but merely airs his "conditions" (the man must be of "decent" stock, etc.).
"The way he worked was extraordinary," says Ferran.
"Instead of simply correcting the manuscript, he would put it away in a drawer and rewrite the whole thing without consulting the original at all."The third version became by far the most famous - that's the one published in this country after the landmark obscenity trial in 1960 - but Ferran chose to base her film on the second, which eventually came out in England in 1972 as John Thomas and Lady Jane (and in France as Lady Chatterley et l'homme des bois)."The familiar final version of the story is more talkative, more political and has aged badly as a result," says Ferran.
But in Lawrence's book, as in life, things are more complex than that.
With that first sexual encounter, the real complications begin."Lawrence obsessed over his final novel, eventually producing three quite different versions of the story.
"But the second retains an incredible power."In the earlier version of the book - and in Ferran's film of it - the gamekeeper is more vulnerable, and known as Parkin, not Mellors.
Constance Chatterley is, in turn, far less worldly.
TRAVELLERS on the rural bus services of Oxfordshire last summer had their journeys enlivened by a little lyrical entertainment.
Behind the wall of a country estate skirting the road, Ken Russell was shooting his interpretation of Lady Chatterley's Lover, starring Joely Richardson and Sean Bean.
Also, Sir Clifford and his pals discuss the gruesome business and casualties of war in an early scene.
A handful of scenes depict simulated intercourse, though in many of them the characters are still partially clothed.
Constance discovers Parkin is only half-dressed, and the physical strength of his body makes a strong impression on her.