Haley Bennett Shines as a Champagne Trailblazer in a Lifeless Biopic

Amid the recent influx of corporate biopics on our screens, a film about the iconic French champagne house Veuve Clicquot stands out. After all, champagne is inherently more alluring than products like running shoes or smartphones. The vineyards of 19th-century Reims provide a captivating setting, far more appealing than an office building in Beaverton. “Widow Clicquot” fully embraces this picturesque backdrop, enriched by earthy tones and a narrative steeped in romance about the widow at its core.

Barbe-Nicole Ponsardin Clicquot, at the age of 27, found herself widowed and left in charge of her late husband’s struggling winery. Rejecting offers from male competitors, she transformed it into a burgeoning international champagne business, becoming the first woman to lead such an enterprise. Legend even credits her with the invention of rosé champagne, underscoring the need for a biopic celebrating her achievements.

“Widow Clicquot” achieves this with a respectful yet streamlined account, enriched by a nuanced performance from Haley Bennett in the titular role. Despite the predominantly British production under director Thomas Napper, the film avoids excessive French flair in favor of clear, cut-glass English dialogue throughout this historical narrative.

Efficiently structured, the film condenses Madame Clicquot’s personal and professional milestones into 90 minutes, though it sometimes lacks inspiration. However, Bryce Dessner’s neo-chamber-y score provides a notable exception with its stark beauty. The screenplay by Erin Dignam employs a two-track narrative, juxtaposing Barbe-Nicole’s efforts to assert herself in a male-dominated industry against the decline of her husband, François, from a passionate winemaker to a man grappling with madness. This dual focus often portrays Barbe-Nicole as a reactive figure, constrained by patriarchal norms in one timeline and unruly masculine ego in another.

Her defiance is illustrated through familiar, if somewhat strained, metaphors. When she remarks on her vines struggling to survive and becoming stronger through adversity, it’s clear the reflection applies to her own journey. Her primary antagonist is her father-in-law Philippe, a stern figure disapproving of her independence and her husband’s innovative approach to winemaking. Philippe represents the old guard of masculinity that she aims to overcome, parallel to what is depicted as her modern and lively champagne.

In her quest, Barbe-Nicole finds allies among younger, more progressive men. These include Georges, a field foreman played by Leo Suter, accountant Edouard, portrayed by Anson Boon, and notably, the rakish wine merchant Louis Bohne, played by Sam Riley. Bohne’s rule-breaking tendencies assist her in circumventing Napoleon’s stringent trade embargo to market her champagne, though the film glosses over the specifics of this strategy more than some history enthusiasts might prefer. It also hints at more complex personal dynamics in her relationship with Bohne, including insinuations about a possible romantic link to her husband François.

François, with his complex sexual identity and deteriorating mental health, emerges as the film’s most compelling figure, a sentiment heightened by Tom Sturridge’s intense portrayal. While Barbe-Nicole’s professional journey is inspiring, it’s the marital flashbacks that carry the most dramatic weight. These flashbacks reveal an evolution from a seemingly pure and transcendent love to a more complicated and potentially abusive dynamic, adding depth to the narrative.

Though these darker nuances are downplayed in favor of a more marketable and uplifting corporate mythos, the film remains visually captivating. DP Caroline Champetier’s cinematography adds a polished sheen that underscores the film’s thematic contrast between human complexity and brand allure. In the end, “Widow Clicquot” tells a story of perseverance and innovation, but one is reminded that the narrative of individuals is inevitably richer, more chaotic, and effervescent than the tales of the brands they build.

Source: Variety