A One Mann’s Movies review of “Widow Clicquot” (2024).
(Alternative title: La viuda de Clicquot)
Sometimes you realise something that makes you feel really stupid. For example, as I came out of this film, about the dramatised history of the famous Veuve Clicquot champagne brand, I was thinking “Well, that was about Madame Clicquot, but when did this bloke Veuve come into the frame?”. “Veuve” is obviously French for “Widow”. D’Oh!
Bob the Movie Man Rating:
Plot Summary:
Barbe Nicole (Haley Bennett) is the young “Widow Clicquot” after her husband François (Tom Sturridge) dies suddenly. His vision were the vines on their French Champagne-region vineyard and against strong opposition, particularly from François’s father Philippe (Ben Miles), Barbe is intent on running the vineyard solo and bringing to conclusion her husband’s vision.
Certification:
UK: 15; US: R. (From the BBFC web site: “Brief strong sex”. I kept waiting for the “Brief strong sex”, but when it came I thought “Is that it?!” It is extremely “brief” (blink and you’ll miss it) and as for “strong” I’m not sure I would agree – fully covered bodies and a couple of thrusts on a window cill!)
Talent:
Starring: Haley Bennett, Tom Sturridge, Sam Riley, Cecily Cleeve, Natasha O’Keeffe, Nicholas Farrell.
Directed by: Thomas Napper.
Written by: Erin Dignam. (From a story by Christopher Monger & Erin Dignam, based on the book by Tilar J. Mazzeo).
Running Time: 1h 30m.
“Widow Clicquot” Summary:
Positives:
- Gorgeous scenary and beautifully shot.
- A strong acting ensemble.
- A strongly feminist agenda of one woman against the Napoleonic patriarchy.
Negatives:
- A rather confusing story, only progressively revealed in flashback.
- Some opportunities to add more drama and interest seem to be ignored.
Review of “Widow Clicquot”:
Scenary to die for.
From the opening shot, of the sun gently settling in the West over rolling fields of vines, you can relax into the knowledge that you aren’t going to be short-changed with gorgeous bucolic views. The vines are another character in this drama…. they are the rationale for all of the actions – both good and bad – within the film. For poor François (Tom Sturridge) they are his obsession, presumably driven by a strong need to impress his stern and domineering father (the ever-reliable Ben Miles). For Barbe, they become a living part of the now dead François and a symbol of her rebellious fight against the patriarchy in a Napoleonic France where women are not even allowed to start a business.
Great acting.
Haley Bennett is an unusual leading lady in that she is not the stunning beauty you might expect her to be as a leading lady. (For me, this made a poor choice for the lead obsessed on in last year’s “Cyrano“.) But she is undoubtedly a great actor and reminded me here of Renée Zellweger in “Cold Mountain”. She’s also undeniably sexy: a scene where she drops her robe to stand naked in front of one of the characters is incredibly erotic.
Tom Sturridge is fine as François, seen in flashbacks throughout, and having to exercise a whole range of different emotions. But even better for me is Sam Riley – his second appearance for me in a week! (He was Thomas Seymour in “Firebrand“). Riley plays the wine merchant Louis Bohne who does his best to keep the wolf from Barbe’s door. He’s a bit of a Han Solo rogue…. if Han Solo was want to swing both ways!
A feminist icon.
Do you remember a few years ago when there was barely a single film in the year that featured women’s issues or indeed seldom featured women in the lead role? How things have changed (and for the better). Barbe is a really strong character fighting against a all-powerful patriarchy, not afraid to bend and sometimes break the law to progress her dreams. A final courtroom scene is very powerful: you expect a particular outcome to a key question (the easy option) and get the complete opposite!
Missed opportunities.
The film requires a lot of concentration and not because of the constant flashbacks (helpfully Barbe initially wears black in the current day scenes and white in the flashbacks!) You are only drip-fed facts about the past as the film progresses so there are some interesting twists. It is also really vague, frustratingly so at times, about certain aspects of the film (for example, the sexuality of François and Louis and the background to François’s condition).
The story also lacks a sense of drive at some points. For example, there are exciting scenes of the Russian army blitzing the horizon forcing Barbe and her housekeeper Anne must flee the oncoming army. I perked up… since the story has been short of action and indeed much that was eventful up to that point. But this opportunity is completely ignored. They flee. Then they’re back. What happened in between? There is also the threat of constant commercial pressure from the neighbouring Mr Moet (yes, that one, played by that old veteran Nicholas Farrell). But, apart from an early scene, we don’t see him again which is a shame.
Summary Thoughts on “Widow Clicquot”
A good-looking film, well acted and with an interesting story. So lot’s of potential. But, for me, the script lacked a sense of drive that made it a standout drama.
By the way – for sub-title-phobes – whilst this would really have worked well as a French language film with subtitles, this is a fully international film where all of the dialogue is in English.
Where to Watch it (Powered by Justwatch)
Trailer for “Widow Clicquot”:
The trailer is here: https://www.youtube.com/watch?v=vOFBDabjZt0.
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