Colette is a British biographical drama film from 2018, directed by Wash Westmoreland, from a screenplay by Westmoreland and Richard Glatzer, based on the life of the French novelist Colette. It stars Keira Knightley, Dominic West, Eleanor Tomlinson and Denise Gough.
It had its world premiere at the Sundance Film Festival on January 20, 2018. It is scheduled to be released in the United States on September 21, 2018.
After moving to Paris, the author Sidonie-Gabrielle Colette agrees to write a semi-autobiographical novel for her husband. Her success soon inspires her to fight for creative property and overcome the social limitations of the early twentieth century.
Initial release: September 21, 2018 (USA)
Director: Wash Westmoreland
Music composed by: Thomas Adès
Production company: Bold Films
Producers: Christine Vachon, Michel Litvak, Stephen Woolley, Elizabeth Karlsen, Gary Michael Walters, Pamela Koffler
Colette (2018) online news
Colette Trailer: Keira Knightley returns to her true passion, scandals of yesteryear
As much as we broke the Belle Époque Paris, the City of Light was not as enlightened when it came to women’s rights at the turn of the 20th century. Their fortunes almost always depended on marriage, or else, they were “maintained” by wealthy men; they were forbidden to wear pants and could be arrested for being seen in public dressed in men’s clothing; and as the pseudonymous literary sensation “George Sand” demonstrated, they were discouraged from writing and publishing, at least under their own name.
And yet, that was the Paris in which Sidonie-Gabrielle Colette married Henry Gauthier-Villars, also known as “Willy”, a popular author and critic who pushed her to write, and then she attributed the success of her stories “Claudine”. Literary biography less embarrassing than the saga of relevant female empowerment, “Colette” is classified as one of the great roles for which Keira Knightley will be remembered. Although hardly the first feature film in English to go behind the famous French line (Danny Huston directed the much ridiculed “Becoming Colette” a quarter of a century before), manages to tie his story to the spirit of the time, while deepening in love issues that she chased with other women.
As the tea cups go, specifically in anticipation of whether they may be to your liking, the most recent movie “Colette” is more like “The Danish Girl”. Both qualify as well-intentioned melodramatic treatments of once controversial figures whose causes are considerably improved in retrospect, and are further embellished with striking ensembles and costumes. (“Colette” is Westmoreland’s best-seen film, and the first without her late husband, Richard Glatzer, radiantly illuminated by DP Giles Nuttgens, whose camera seems to float through all the light-hearted early-twentieth-century Parisian venues. champagne bubbles). Also, both are good stories, as long as you do not know so much about the topics that come in.
Films dedicated to the lives of writers are generally content to court old and well-read audiences, but director Wash Westmoreland clearly hopes that Colette’s story will attract and inspire young women, in the same way that his character popular, Claudine, at the moment. Although gender often runs the risk of boredom, that is not the case here, thanks in large part to its protagonist: despite the fact that she is frequently chosen in period pieces, Knightley possesses a tantalizingly modern quality both in her style as in his cheeky, independently, is related to the men on the screen, especially with her husband (played with the bombastic charm of a true rude Dominic West, equal Knightley, even if his character is well below the her).
Where the women of the time can squint, Knightley meets the gaze of the front camera. She seems not to be afraid to challenge the status quo, which of course was the quality that made Colette’s story so attractive over the years: Here was a stranger to the educated Parisian society (raised in Saint-Sauveur, the provincial city where the film begins)) who never embraced the salons’ label, choosing instead to find their own company, no matter how scandalous it may seem, not because Colette or her husband seemed to care about a good scandal.
Certainly, Willy was determined to shuffle Colette’s first manuscripts, saying, “We need more spices, less literature,” which surely explains why she shows her husband Svengali issuing his first critique of Colette’s work while relaxing in the potty from the Department . Westmoreland is clearly pleased to incorporate such historical details, from the invention of electric lights to the heated debate over the Eiffel Tower, now perceived as the most charming spot in Paris, but a scandal for the classicists who felt that the iron structure ruined the city skyline.
Like the character of Christoph Waltz in Tim Burton’s “Big Eyes,” another artist who took his wife’s job, Willy is an easy villain, although the social climate at the time was so guilty in “Colette.” Granted, he could be cruel, treating her more as a slave than as a partner, as in a scene where he encloses Colette in a room and forces her to write, but both West and Westmoreland seem determined to grasp the complexity of their relationship especially when his love life was worried. (This element acquires an additional level of intensity when it is considered that “Colette”.
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Wash Westmoreland presented his biopic of nineteenth-century French author Sidonie-Gabrielle Colette with a funny but moving speech in which he recalled that the film was, in a way, the last will and testament of his late and creative partner Richard Glatzer , who died of ALS in 2015. It is appropriate, then, that although the film bears a name and pretends to tell the story of a person, Colette is really the story of an artistic collaboration and its consequences.
With Keira Knightley in the lead role and a largely British cast, Colette begins as a simple period piece, while country girl Colette is courted and marries the Parisian writer Henry Gauthier-Villars, aka Willy (Dominic West) . He also finds himself joining the “factory” of ghostwriters that Willy uses to produce his novels, and his scribbles of fans like the enigmatic Claudine create an editorial phenomenon that runs through Paris.
After a slow start, the film becomes a fascinating portrait not only of a unique commercial arrangement but also of a marriage that transcends traditional borders: embarking on a series of same-sex relationships, Colette impresses Parisian society while, at the same time, not a jot. It is something juicy, inspiring and strengthening; It is a pity that such an intriguing and well-intentioned story could not have had a little more audacity.
The British cast of Colette is here to present you with a very French scandal. Keira Knightley and a collection of small hats interpret Sidonie-Gabrielle Colette, whose husband Willy (a pompous Dominic West) convinces her to write a novel based on her own experiences, which she describes as her own, and which becomes a runaway success. This, as you can imagine, is pretty hard for marriage, as is Willy’s romance. So Colette tries to get out of her not-so-metaphorical confinement, pursuing an adventure on the road with a transvestite noblewoman (Angels in the United States Denise Gough). Colette premiered at Sundance earlier this year, and will be out this fall, in time for Knightley to see if this, finally, is the drama that will give her an Oscar.
The story of a woman who throws her husband to stardom, just to claim the credit and fortune she deserves and leave it in the dust, is a story that seems ripe for 2018.
It also turns out to be the true story of the twentieth century The French novelist and nominated for the Nobel Prize Sidonie-Gabrielle Colette, which forms the basis of the premiere of Sundance, Colette: an emphatically feminist chronicle of transgression and empowerment.
Colette, by Keira Knightley, enters Paris as a naive peasant named Gabrielle, and is defeated by the “rich” critic Henry Gauthier-Villars (played with daring and presumed charm by Dominic West of The Affair). But he quickly learns that he is a player, a womanizer and a hacker who hires a team to write his reviews, a team that can not even pay. Henry, also known as Willy, disputes our beautiful Gabrielle to do what he wants, and she ends up writing Claudine’s series under her name, based on her own experiences.
Always an entrepreneur, Willy turns these novels into marketing campaigns and even into a play. Throughout these deals, he encourages his wife’s attraction to those of his own sex, reveling in his real-life quotes with other women in the hope that they will inspire “his” next great masterpiece.
But Gabrielle, who decides to call herself Colette, is not someone to take on a trip. She becomes a celebrity in her own right, never hiding from the floodlights or rumors that she could be the true author and creator of Claudine, which angers Willy to the end.
Their relationship becomes more or less a commercial society, and Colette eventually falls in love with a divorced, androgynous, and confident aristocrat, Missy (Denise Gough), who wears pants despite societal disapproval and responses to masculine pronouns. . But even then, Colette’s biggest passions are her stories, which she refers to as her children, and her flourishing career as an actress.
“More spice, less literature” is Willy’s critical assessment of Colette’s early work, but no one could make that criticism about this movie; Colette successfully combines sexual attractiveness, humor and humanity.
There is definitely a lot of seasoning to accompany the prose: the scenes in which Colette raves voraciously to several women are as warm, carefree and even silly as her first fall in the stables with her husband.
There is something combative in the film of director Wash Westmoreland (who also wrote the script with his late husband Richard Glatzer and Rebecca Lenkiewicz). The credit is in part due to Knightley, whose gaze is as unwavering as Colette’s wit, almost challenging the public to find flaws in her character’s grandiose and challenging behavior; his Colette never earns the courtesy of Parisian high society. In a memorable incident, after discovering her lover, the American heiress Georgie Raoul-Duval (Eleanor Tomlinson), she also sleeps with Willy, she writes a barely disguised story about her adventure, despite the consequences for Raoul-Duval.
However, there is also a strong line of compassion. Rarely in a period drama will a mother encourage her daughter to pursue her own dreams, husband be condemned. However, that’s exactly what Sido does (Fiona Shaw, playing the opposite of her character in another Sundance movie in 2018, Lizzie). “It is better to make the marriage get used to you,” advises Colette when the disenchanted daughter insinuates that she only has to learn to accept the fun of her husband. And although Willy has the ability to be cruel (like when he locked Colette in a room to force her to write his next story), thanks to West’s performance, he also retains humor and heart, which makes it much more difficult for Colette and the audience to easily ignore it.
Unlike some historical biographies, Colette is never stuck, nor crawls. The wide score and the splendid Parisian configuration complement the rapid dialogue and enthusiasm of the film. It is not surprising that Colette was acquired immediately after her first Sundance analysis; You will receive a broad launch later this year. The public can expect to see Knightley in his most memorable roles from Atonement, but also a story about female excellence that reigns over male mediocrity: just what we need right now.