Keira Knightly embodies the sensual Colette, in this 100-year old #TimesUp #MeToo story so relevant today. It depicts feminism, gender identity, sexuality, misogyny, work-place politics, creativity, and fame in Paris and the picturesque countryside at the turn of the 20th Century.
It’s based on the life of Colette, the very popular Parisian writer who came into her own after ghost writing the popular Claudine series of books under her husband, Willy’s, name. In doing so, she gave women a voice. She fought and won the battle to write more books under her own and even wrote Gigi, the book which became the Broadway play and movie.
This is a beautiful film on every level. The cinematography by Giles Nuttgens (Hell or High Water) is breathtaking. It was shot in Budapest which gives it a different era feel. Every shot of the impeccably detailed country landscapes and Paris living is like a painting. The Production design by Michael Carlin is impeccable. The scenes in the country are lush and bright. In the city, they are more sepia toned showing a different palate. The costumes designed by Andrea Flesch, are exquisite and simple when Colette is young, and more sophisticated as she comes into her own. The score, composed and orchestrated by Thomas Adès (Mozart in the Jungle, The Metropolitan Opera HD Live: The Tempest), enhances each and every scene in tone and tempo.
Writer/Director Wash Westmoreland (Still Alice) wrote the film with his life partner-Richard Glatzer. The original idea for this movie was Glatzer’s in 2001. He passed away during the project and Writer Rebecca Lenkiewicz (Ida) came on board. Westmoreland also recreates the parties of the day and the entertainment. We had never heard of canto-mime. That’s a mime in full makeup, acting out an operatic song, mouthing the lyrics as the soprano right there in the room belts it out. It’s a curious kind of karaoke popular in Paris at that time and sets what artistic salons were like in gay Paree.
We’ve never seen Knightly in as sensuous, provocative and uninhibited in a role. In it, she fights for her own identity as a writer which her husband, Willy (Dominic West (The Wire, The Square, Tomb Raider) has taken away. She explores her sexuality, not only with her husband, but with women he also beds, Georgie, played by Eleanor Tomlinson. Gender doesn’t matter. Collette was an artist in Bohemian Paris in the late 1800’s and Knightly plays it to the fullest.
The scenes showing her developing a serious, trusting relationship with Missy, (Denise Gough –Juliet-Naked), depict well her openness in loving a rich, gay woman who dresses like a man. They become lovers and artistic partners and Knightly shines in the extremely detailed avant grade stage performances. The actress respects Colette as a woman who lived the way she wanted; unapologetically and it comes through.
Dominic West plays Willy, whose real name was Henry-Gauthier Villars, although he had many monikers. West takes charge of this role as a charming, witty, lively party animal. He’s a real operator who is good at taking advantage of every opportunity as a writer and music critic. He had had success as a writer, but when he loses his mojo, he grooms Colette to write about her days at school in the country as Claudine, and took credit for her work. Westmoreland helps you appreciate her talent in scenes seeing her use pen and ink, writing flourishes on paper as Knightly reads in English Colette’s stories in French.
Willy really loved Colette, but theirs was an open marriage. He freely admits, “We’re a slave to our urges.” He and Colette were progressive intellectual equals and their sparring is super charged. The dialogue is clever, and fast paced between Colette and Willy. Knightly and West make it lively. Westmoreland describes their long scenes of dialogue like watching a good tennis match.
The director says Willy was a master of puns and they put a lot in the script for West. He delivers them with aplomb. He is excellent in the role and great to watch as the fun Willy. He is loving and playful when not locking his wife up to write. But when Colette realizes she’s being taken advantage of, she fights back. That’s when the film really opens up.
It’s an inspiring story that Westmoreland has crafted well. “The hand that holds the pen writes history.” That’s what Colette did and this is a story not only about the past, but is completely relevant to what is happening right now.
