While Constance loves her husband, she has grown weary of her life as a bird in a gilded cage, as well as her husband's lack of affection.
Reverting to his Derbyshire dialect, he asks her whether she is not worried that people will find out about her affair with a commoner, but she throws caution to the wind; they have sex again.
[Writer/director] Mercurio wanted to emphasise youth, as messed up by bombs and mines, rather than jaded adulthood.
Accordingly, the later of two ball scenes was costumed and soundtracked for 1919, not the mid-1920s of the novel ( I did feel like they went a bit heavy-handed on the gender-role-thing, particularly when Sir Clifford tells Lady Chatterley that he “ought to be a figure of potency” for her (ugh).
), and I’m sure if I had I’d have all sorts of opinions about the changes made to the story.
Gamekeeper Mellors’ motivation was a bit more opaque — he’s lower class, he’s in the war, he’s now a gamekeeper, the lady of the house wants a hug, suddenly they’re shagging in his hut. The timeline was moved earlier than most adaptations go, in order to focus on the effects of World War I on Sir Clifford (and then the resulting effects on his wife Connie).