Colette (2018)

Review

111min

Genre:       Fact-based, Drama

Director:    Wash Westmoreland

Cast:         Keira Knightley, Dominic West, Denise Gough…and more

Writers:     Richard Glatzer, Wash Westmoreland & Rebecca Lenkiewicz

-Synopsis-

Coming of age in turn-of-the century France through her marriage to a writer-impresario who takes credit for her work, a country girl becomes the toast of the town when her very personal novels become a sensation, as she begins to escape the shackles of a manipulative older husband and pushes the boundaries of the society around her—transforming into a celebrated and groundbreaking literary figure, in this period piece based on a true story.

After teaming up with his late partner Richard Glatzer to break audience hearts with 2014 dementia-centred story ‘Still Alice’, British writer/director Wash Westmoreland returns to the big screen with about as contemporary a period piece as you’ve seen—recounting the real life story of an extraordinary forward-thinking woman, while weaving a tale of female empowerment, sexual fluidity and gender identity . . . one hundred years before its time.

Keira Knightley stars as provincial Burgundy native Sidonie-Gabrielle Colette, a young and intelligent free-spirit at the bridge between the 19th and 20th century, who struggles to come into her own in opulent Paris, navigating a troubled marriage to Henry ‘Willy’ Gauthier-Villars (Dominic West)—a pompous cad and celebrated author who’s more a literary entrepreneur than artiste, turning his new bride into his latest meal ticket ghostwriter. But when Colette turns their complex and hedonistic open relationship into fodder for their smash hit ‘Claudine’ series of novels, she is pulled away from a neglectful husband and drawn towards self-styled gender fluid aristocrat Mathilde ‘Missy’ de Morny (Denise Gough), as she begins to carve her own path through French music halls, setting off on a journey to literary immortality.

It’s hard to imagine a more contemporary historical figure than Sidonie-Gabrielle Colette or a more timely period drama than ‘Colette’. A turn of the century story which effortlessly and somehow legitimately seems ripped from our daily headlines today—reflecting the ‘progressive’, pronoun-obsessed social movement sweeping through Hollywood and the media, if not Western society in general, in a story set more than a century ago whose central themes are female empowerment and emancipation, gender fluidity and sexual adventurism.

Taking full advantage of his biggest budget to date and the cinematographic talents of Giles Nuttgens (Hallam Foe, Hell or High Water), Westmoreland beautifully re-creates turn-of-the century picturesque rural France and bustling Paris with top notch production designs and costumes, while using some gorgeous British and Hungarian locations to seamlessly double for La France.

Keira Knightley delivers one of the more nuanced, solid, and least pouty performances of her career, as the eponymous heart and moral centre of the piece, well supported by a cast with a kaleidoscope of sexual orientations, with inclusivity proving key for the filmmakers. But much like his sleazy yet very human character espouses in the film, Dominic West brings much of the spice and life to the film, as a man whom although often arrogant, shameful and a designed to be a representation of the patriarchy to be challenged, is far from one-dimensional—more than playing his part in bringing to life a complex relationship defined by exploitation, but also complicity and partnership somehow.

For those resistant to a socio-politically led costume drama, or an ideologically contemporary period piece, ‘Colette’ might prove a tough pill to swallow—after all this is essentially an intersectional feminist Hollywood history lesson, with a deeply progressive agenda which defines the film. But even the more open minded audiences might find it limited as a drama and spectacle, so focused on being a champion of its subject and a historical reflection of today’s society that it forsakes emotional nuance to some extent. The results are relationships that although fascinating in their context, lack in genuine passion and feel somewhat forced, and which one suspects barely do justice to the complexities of these unique people and their libertine experiences in a less understanding time.

Yet ‘Colette’ has more than its share of cinematic qualities to make up for any narrative shortcomings. As beautifully shot and meticulously crafted as any period piece as you’re likely to see, while proving risqué and slightly subversive, and coming hot on the heels of Yorgos Lanthimos‘ ‘The Favourite’ to help to breathe new life into the British costume drama.

Most importantly though is its contribution to the female-led, inclusion focused discussion coursing through the movie industry’s veins, telling the extraordinary and still seldom seen story of women who carved their own path and contributed to the long game of changing society and its norms, while stylishly shining a light on a bold trailblazer who wrote history with her pen and changed attitudes with her persona—and solidifying Wash Westmoreland’s growing reputation as a filmmaker to follow closely.

The Bottom Line…

A mind-opening progressive period drama and stylish eye-opening Hollywood history lesson, ‘Colette’ overcomes some narrative limitations to prove a beautifully crafted ode to the intrepid writer and a tribute to a trailblazer a century ahead of her time, making for a fascinating, occasionally racy and utterly timely period piece which will captivate even reluctant period piece audiences.

Similar films you may like (Home Video)

The Handmaiden (2016)

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Directed by Park Chan-wook and starring Kim Min-hee, Kim Tae-ri and Ha Jung-woo among others.

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