Knightley’s Colette a tale for the times
She was a country girl without a dowry, he was one of Paris’ leading literary entrepreneurs.
But despite all the fine women of the City of Lights vying for his attention, Willy (Dominic West) was smitten by Saint-Sauveur-enPuisaye’s Sidonie-Gabrielle Colette (Keira Knightley).
Introduced to the sights and sounds of France’s big smoke circa 1892, Colette’s presence was a constant source of surprise to Willy’s inner-circle, amazed that she’d captured ‘‘the slipperiest of eels’’.
Unfortunately, it isn’t long before Colette discovers that she’s not the only one he’s been sharing his affections with, a revelation that sends her rushing back to the countryside.
But Willy wins her back by promising to involve her in his business and buy her a pooch. Publishing though doesn’t seem to be as lucrative as it once was.
Desperate for something new to excite the market, Willy suggests Colette could write about her childhood.
Dutifully she does, but he derides her first efforts, saying they need ‘‘more spice and less literature’’.
Once released at the dawn of the 20th century, Claudine a l’ecole becomes an unprecedented hit, and its acknowledged author Willy becomes the toast of Paris.
Naturally a follow-up is needed to capitalise on the demand, but while Willy rewards Colette with a country house, she’s less than keen to mine her past for another bestseller, for which she will receive no credit.
Dedicated to his partner in all things, Richard Glatzer, who died of motor neurone disease in 2015, writer-director Wash Westmoreland’s biopic of this French Nobel Prize nominee has been almost two decades in the making. The Still
Alice helmer first penned a script in
2001.
However, in light of #Metoo and the growing awareness of pay inequality between genders during the past 18 months, this more-thana-century-old story feels more timely than ever. Colette’s attempts to chart her own course (‘‘too much of my life has been arranged,’’ she opines) and be recognised for her work will strike a chord.
In some ways though, there’s almost too much crammed into the just under two-hour running time. With much of the focus on her troubled marriage and literary aspirations, her forays onto the stage and relationships with Missy (Denise Gough) and Louisiana debutante Georgie Raoul-Duval (a scene-stealing Eleanor ‘‘Poldark’’ Tomlinson) seem a little shortchanged.
On the plus side though, the costuming and art direction are top notch and West (TV’s The Affair) and Knightley (Atonement) deliver terrific performances.
Knightley makes a welcome return to the spotlight, reminding audiences of why she was once British period drama’s go-to gal in the likes of Pride and Prejudice, Anna Karenina and The Duchess.