As a devoted cinephile with a deep appreciation for historical dramas and biopics, I find “Widow Clicquot” to be an intriguing and visually captivating film that tells the story of Barbe-Nicole Ponsardin Clicquot, a remarkable woman who defied societal expectations and transformed her husband’s struggling champagne business into an international success. The film’s stunning cinematography and rich earthy tones transport us to the vineyards of 19th-century Reims, making for a seductive and alluring setting that is far more enticing than the average corporate biopic.
Among the numerous corporate biopics recently released, the one about Veuve Clicquot, the leading French champagne house, stands out as more intriguing than most. Champagne is more alluring than a running shoe or a smartphone, and the vineyards of 19th-century Reims, with their sinuous curves, provide a more captivating backdrop for a brand’s history than a drab office building in Beaverton. “Widow Clicquot” effectively showcases its unique environment and picturesque landscape, beautifully captured in warm earthy hues throughout. Furthermore, it delves deeper into the romantic legend surrounding the widow herself.
Aged just 27 when her husband died, leaving her his ailing winery, Barbe-Nicole Ponsardin Clicquot resisted buyout offers from male competitors, instead transforming it into a thriving international champagne business — the first of its kind to be run by a woman. All that, and she allegedly invented rosé champagne, in which case we collectively owe Madame Clicquot a solid, or at least a solid biopic.
Title character “Widow Clicquot,” portrayed by Haley Bennett with subtle intelligence and respect, narrates her story in a refined yet straightforward manner. Bennett also produces the film alongside her husband Joe Wright. Director Thomas Napper, known for his grittier work in “Jawbone,” delivers a production that leans more towards Anglo-American-European fusion. The dialogue is predominantly spoken in polished English, giving this slice of historical France an unusual linguistic twist.
If the film effectively condenses its complex portrayal of the protagonist’s personal and professional accomplishments into an astonishingly succinct 90 minutes, it fails to ignite true inspiration (with the exception of Bryce Dessner’s striking, minimalistic score). Erin Dignam’s script features a bold narrative structure consisting of two parallel stories. The first storyline follows Barbe-Nicole, a widow, as she faces skepticism from men in her efforts to establish herself as a successful businesswoman. The second storyline intersperses this timeline with flashbacks to the final years of her marriage, where her husband François (Tom Sturridge), an impassioned and rebellious winemaker, spirals from eccentricity into madness. Barbe-Nicole is portrayed as a somewhat passive character in both narratives, held back by entrenched patriarchal norms in one timeline, and by her husband’s domineering masculinity in the other.
Barbe-Nicole’s determination in overcoming challenges is portrayed using relatable “girlboss” language and interspersed with metaphors from farming. She remarks, “My new vines must fight to live.” When they face hardships, she believes they grow stronger. It’s not hard to figure out what else she might be referring to. A significant portion of her battles is against Philippe (Ben Miles), a disapproving father-in-law who shares the same disdain for Barbe-Nicole’s defiance and her son’s nonconformity, representing the traditional masculine order that she aims to challenge, along with her unconventional champagne.
Instead, she surrounds herself with younger, forward-thinking male associates such as Georges, the underestimated foreman (Leo Suter), Edouard, the innovative accountant (Anson Boon), and most notably, Louis Bohne, the rebellious wine merchant (Sam Riley). Their unconventional ways prove beneficial when Barbe-Nicole suggests breaking free from Emperor Napoleon’s strict trade embargo to expand her champagne sales. The intricacies of this risky business plan are brushed over, which might disappoint viewers with a keen interest in Veuve Clicquot’s history. However, the film also avoids delving deeper into the intriguing subtext of Barbe-Nicole’s relationship with Bohne – an allusion to their past intimacy with François.
François, with his complex and conflicted sexual identity and deteriorating mental health, stands out as the most intriguing and explosive character in the movie. The depth of Sturridge’s portrayal further highlights this imbalance. Although Barbe-Nicole’s professional journey is moving and inspiring, it is the marital flashbacks that hold the greatest dramatic impact – offering an unexpected turn as the seemingly perfect love story unfolds into something darker and potentially harmful.
Great companies aren’t typically built on minor details, so “Widow Clicquot” chooses to overlook them in favor of more marketable elements, creating a captivating corporate narrative similar to the striking visuals of cinematographer Caroline Champetier. Human stories, though, will always be more complex, raw, and vibrant than brand stories, no matter how appealing Veuve Clicquot may be.
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2024-07-21 13:16