M, 90 minutes
3 Stars
Review by © Jane Freebury
Tackling the subject of a young widow who stood her ground during the Napoleonic era and helped establish a prestigious champagne label, that thrives to this day, is an irresistible opportunity for a filmmaker. Capturing turbulent historical times through the tranquility of French vineyards in idyllic countryside makes for a piece that is inherently absorbing, too. Besides, I can’t be the only one who has wondered idly about the ‘widow’ in the Veuve Clicquot brand.
A story for the screen thrives on a heroine who has to battle against the odds and who speaks to a moment in time, our moment, that has prompted many tales of women who upset or overturn the patriarchy. This tale of a spirited French woman who stood up to it, in defiance of her father-in-law and in a challenge to the mores of her time, is based on a screenplay by Erin Dignam and Christopher Monger. It is based, in turn, on a popular non-fiction book of the same name by American author Tilar J Mazzeo. A concept for a movie with more than a bit going for it.
Dreamy and demure doesn’t quite gel with the image of a businesswoman who took a stand
Barbe Nicole Ponsardin Clicquot, who became a widow at 27 years of age and strove to take her husband’s wine business forward, eventually became known as a grand dame of champagne. American actress Haley Bennett plays her with a dreamy and not always demure romanticism that doesn’t quite gel with the image of the redoubtable businesswoman that she became after her husband’s early death. Nor with the image of her portrait that can be found online.
Her happy marriage with Francois (Tom Sturridge) is seen in flashback after the opening scenes at his passing. This may have been the result of suicide, prompted by mental illness or other health issues. Explanations are blurred in the historically-accurate darkened interiors lit by dancing candlelight, or by daylight that streamed in through building windows, back in the day.
It is interesting that Barbe Nicole was up against it at a time when women were forbidden by law from participating in business or education without the permission of their husbands. In this instance it was her father-in-law, Philippe (Ben Miles), who resisted her drive to take over the business. His stern attitude is offset by the support she received from the wine merchant, Louis (Sam Riley), who, in this version of her life story at least, becomes her lover.
Widows, however, had greater freedom under law in early 19th century France. She was allowed to learn the trade and take over the wine making side of the family business. Perhaps, as the narrative suggests, she had to watch her back when neighbours by the name of Moet were eyeing off her property once Francois passed away. On top of this, it seems this venerable woman who lived until her late eighties, the first female producer of champagne, had the right instincts, knowing that her vines needed to be able to struggle to survive to produce the desirable vintage.
Such a fascinating life story with a stronger script could have been so much more engaging
She understood the gamble of viticulture too. That managing a ‘dance with the gentlemen’ was no guarantee that she would not then be at the mercy of the seasons. There are some scenes that frame her thinking about her craft as she makes her ledger entries, but too few to be revelatory. The script for such a fascinating life story could have been so much more engaging.
As an international coproduction of a quintessentially French origin story, Widow Clicquot is written, directed and performed in the main by actors from the Anglosphere. The absence in the film of French language, or even French-accented English, left me with a heightened sense that something was missing.
The art department and costume choices were, however, in French hands, as was the particular look of the film. The producers’ made a great choice in cinematographer with Caroline Champetier who has shot remarkable French films like Annette and Holy Motors.
This first feature for television director, Thomas Napper, needed a much stronger script. One that really interrogated this extraordinary story of a female entrepreneur back in Napoleonic times. Perhaps someone else will have a go.
First published in the Canberra Times on 7 February 2025. Jane’s reviews are also published on Rotten Tomatoes