Directed By Wash Westmoreland
Starring – Keira Knightley, Eleanor Tomlinson, Dominic West
The Plot – After marrying a successful Parisian writer known commonly as “Willy” (West), Sidonie-Gabrielle Colette (Knightley) is transplanted from her childhood home in rural France to the intellectual and artistic splendor of Paris. Soon after, Willy convinces Colette to ghostwrite for him. She pens a semi-autobiographical novel about a witty and brazen country girl named Claudine, sparking a bestseller and a cultural sensation. After its success, Colette and Willy become the talk of Paris and their adventures inspire additional Claudine novels. Colette’s fight over creative ownership and gender roles drives her to overcome societal constraints, revolutionizing literature, fashion and sexual expression.
Rated R for some sexuality/nudity
– Rich and vibrant performances from the film’s leading duo. These are the kind of stirring renditions that lift a so-so screenplay to one that is full of radiant energy and impeccable chemistry between them for all of the wrong reasons. As the film’s title character, Knightley is intelligent, cunning, and especially confrontational. For a woman in the late 1800’s, Colette feels like a revolutionary for her respective gender, decades ahead of her time, and Keira is happy to oblige in giving the character the ambiance in fire that is dutifully required. West also shouldn’t be overlooked for his seedy brand of manipulation that gives the film the constant headache and obstacle that it’s protagonist requires.
– “Colette” is enriched with an overwhelming feeling of stage presence that constantly persists throughout the film. In translating to the screen, it’s nice to see that the meat and conflicts aren’t lost, because it’s in those moments when the dialogue diatribes becomes evidently louder, and the movements of camera remain firmly grounded. There were times during the film when I immersed myself into believing that I was watching a stage play, and it’s a testament to Westmoreland’s grip on the film, to never lose sight of what works from within.
– Vibrant production value in wardrobe and shooting locations. Duplicating Paris during the late 19th century presents many coveted opportunities that other films don’t get the blessing of, and “Colette” never squanders this chance, offering a wide variety of triple stitched dresses and suits to capture the ever-changing essence of our leading lady in a conforming male-dominated society, as well as a fine collection of gorgeous sites that were shot in Budapest to channel the vibe of French cultures.
– The depiction of fame in the 19th century. What I found so cool and unique about this perspective is the comparisons between now and then that highlighted many of the same parallels with being in the public eye. Rarely do we get a chance to see this angle played out in such a reformed and distant era from our own, and the inclusion of one informative montage sequence relates just how groundbreaking the Claudine novels were for escapism literature at their time, giving a vote of confidence to women everywhere whether their male counterparts knew it or not.
– Feels important without catering as Oscar bait. Whether this film receives eventual award consideration remains to be seen, but “Colette” thrives as one of these building blocks to a greater civilization without the necessity of feeling pertentious or callous as an independent film. Because of this, I feel like the film has strong crossover value with 21-40 year-old-males, who would otherwise never consider giving a film like this the time of day. It never loses itself in clunky, outdated dialogue, nor does it feel constrained by its sometimes dry time frame, and I hope many diverse audiences will give it a chance.
– Polished cinematography that was made for the silver screen. It’s so nice to see Giles Nuttgens stealing the show again after the triumph in visual storytelling that was “Hell or High Water”, one of my absolute favorite films of 2016, and his entrancing cruise control into the sights and sounds of Paris is something that certainly can’t be understated. It takes its time with painting us into the vibrant environment, and allowing us a vivid seduction of the landscape that are only surpassed by our leading lady’s impeccable character framing shots.
– Much of the dynamic between Colette and Willy is interesting, if only for the comparisons in infedelity that are labeled one way and ignored on another. What I found so honest and appreciative about their relationship is that these two people, who have fallen out of love, no longer wish to put on a charade to the dismay of their own homely environment. They embrace the arms of many other lovers, and do so without ever straying completely away from one another. One could say this is obviously because of Willy’s lock on Colette, and the fact that he needs her to keep writing, but I think it’s evident that if you are a part of someone’s life long enough, you inevitably will remain that way with or without choice. It’s anything but the conventional romantic rise-and-fall that you’re typically used to.
– It’s reach for poignancy far exceeds its grasp on some interesting subject material. Throughout the film, but especially in the ever-changing second act, the movie jumps from many pads to cleanse its pallet for many conversation starters, but unfortunately it never has much to say beyond the initial mentioning. Plagiarism, self-identity, and gay relationships are just some of the topics that move in and out of frame without much satisfaction for material, and I wish the film had more of an evident direction and fleshed out conclusion for why it required these stirring subtexts.
– Sharp time lapses. This is without a doubt my biggest problem with “Colette”, as the film feels like a jagged hack-and-slash that constantly trims the fat of some important time periods in Colette’s life. It’s more noticeable than ever during a first act that not only speeds us through three years of exposition within the opening ten minutes of the movie, but also finds itself fighting to gain any momentum in pacing that will challenge the audience right away. It does eventually payoff, but I can see a lot of people feeling weighed down for all of the wrong reasons before the film ever really gets going.
– The dramatic elements of the film are never fully realized, and it renders much of the consistency deaf in tone. There are parts of this film where I uncontrollably laughed at the mayhem that ensued, yet others when my face was a blank portrait for transpired, and for a movie so wrapped in manipulation and betrayal, I felt that the rendering of the finished product goes by without fully ever grasping what kind of feeling should exist within the atmosphere. This feels like 107 minutes that builds to a climax that just kind of comes-and-goes without much firepower, and it leaves the film’s closing minutes as nothing more than a Wikipedia page navigation.