No, not another biopic about a writer! Ugh, Keira Knightley’s in a corset again! Get all of that out of your system now because I’m here to tell you that Wash Westmoreland’s Colette is exhilarating, funny, inspiring and (remember: corsets!) gorgeous, too.
The first third of this story is pretty traditional. Sidonie-Gabrielle Colette (Knightley) is a country girl waiting to get whisked away into marriage by the worldly literary “entrepreneur” known simply as Willy (Dominic West). When the new bride is presented at the salons, Parisian gossips are stunned. The notorious libertine Willy is to settle down?
While his admiration of his new bride is sincere, his desires are not entirely stunted. But Colette (as she is not yet known) doesn’t exactly sit idly when she learns of his infidelity. She demands honesty in their marriage and, for a time, she gets it. She also saves the family’s finances when her book that Willy initially rejected for publication is reworked, branded “a Willy novel” and becomes the talk of all Paris.
Much of what makes this film so fascinating is the not-quite-villain-but-certainly-not-hero role Willy plays. It’s a very juicy role for Dominic West, and undoubtedly the best film performance he’s ever given. (I’ve never in my life seen a man look dashing even while flatulating.) The obvious read is that Willy exploited Colette in ways bordering on cruelty. (He even locks her in a room and shouts “write!” when her initial Claudine novel demands a follow-up.) Westmoreland’s film doesn’t exactly excuse him, but does offer context about his contributions to Colette’s initial success as well as a realistic portrayal of how women writers were perceived at the time.
That doesn’t make it any easier for Colette as her husband steals all her glory. Luckily, they each have activities that keep them busy – for a stretch, the activity is sleeping with the same woman. Willy encourages Colette to link up with a bored Louisiana millionaire, but he doesn’t tell her that he’s visiting her apartment on alternating days.
This leads to a kind of understanding, or at least a delay for the inevitable reckoning. Willy’s indulgences lead to a depletion of funds, but what ultimately bankrupts him is producing a play featuring Colette and her new lover (the transgender pioneer “Missy”, the Marquise de Belbeuf). This failure forces Willy to sell the rights to the extremely popular Claudine character, and kickstarts Colette’s career as a vaudevillian.
There’s no shortage of domestic drama (and Knightley and West do fine work with the sharp screenplay Westmoreland co-wrote with Richard Glatzer and Rebecca Lenkiewicz) but the delay in building to a final knockout row is something of a revelation. We so often look to the lives of artists for meaning, but when dramatized they regularly end up being just another bit of soap opera. Colette’s life is deserving of nuance and care, and that’s what she gets in this film.
She also gets Keira Knightley is top form: luminous, clever, sexy and sympathetic. The scenes of physical intimacy are tasteful and few, but have quite an impact. Much of what drove Colette was a need to be recognized. Knightley will not suffer the same fate when this film is viewed by wider audiences.
- Colette is showing at the Sundance film festival
