Barbe-Nicole Ponsardin Clicquot ascends from demure young lover to patriarchy-defying innovator in this attractive but not quite grand cru biopic
The French will be aghast: with climate change, the English are already encroaching on the sparkling wine trade, and now they’ve got the cheek to make biopics about the wine-makers too. Inadvertently or not, this Joe Wright-produced period drama functions as decorous product placement for champagne house Veuve Clicquot. Portraying Barbe-Nicole Ponsardin Clicquot (Haley Bennett) in her climb from demure young lover to patriarchy-defying innovator who finally rejects remarriage as a means of securing legal autonomy, it owes a debt to Shekhar Kapur’s 1998 film Elizabeth.
It’s 1805, and 27-year-old Barbe-Nicole is under the cosh after her husband François (Tom Sturridge), a genius vintner but an unstable soul, kills himself. Her father-in-law Philippe (Ben Miles) doesn’t think she can run the estate, and her neighbours – including the Moët family – are eyeing up the property. But unafraid of getting her hands dirty, she resolves to continue François’ experiments towards perfecting what became the iconic “comet” vintage. With the Clicquot finances in tatters and the Napoleonic wars hampering trade, she devises a clandestine continental sales network with the help of rakish broker Louis Bohne (Control’s Sam Riley).
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Source link : https://www.theguardian.com/film/article/2024/aug/20/widow-clicquot-review-haley-bennett-tom-sturridge-sam-riley
Author : Phil Hoad
Publish date : 2024-08-20 10:00:10
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