Though her IMDb filmography dates back to 2007, Haley Bennett first made a name for herself in 2019's psychological thriller Swallow, Carlo Mirabella-Davis' unsettling and striking drama about a woman pulled toward ever-more-destructive behavior. Since then, Bennett has appeared in several higher-profile films that, through no fault of her own, never seemed to catch on with audiences (poor thing is apparently in the doomed Magazine Dreams, which may never see the light of day...). And yet, I find myself drawn to projects she chooses and always eager to see who she can transform into for her latest roles. In Widow Clicquot, she is Barbe-Nicole Ponsardin-Clicquot, widow of François (Tom Sturridge in flashbacks) and heir to the family's now-storied champagne vines and cellars.
Directed by Thomas Napper, who served as second unit director on several Joe Wright pictures (he's a producer here), Widow Clicquot is a staid and straightforward biopic about a woman who challenged the laws and social norms of the early 19th century to become one of the most respected wine makers in history, a pioneer of the craft and a formidable businesswoman, too. Bennett, once again, loses herself in the character and brings a calm confidence to a woman who surely did not always feel so self-assured. Indeed, some of her line deliveries are so dry (and sure, a few lines are a bit on the nose) that one would be forgiven for momentarily mistaking them for aloofness.
Bust as we learn throughout the course of the film, the Widow Clicquot is facing political, familial and legal opposition to her plans for the vineyard and cellars, and her only hope at success is to bring a measured, consistent and unflappable sense of direction to the business at hand. Sam Riley returns to co-star alongside Bennett (the two appeared together in 2022's She Is Love) as Louis Bohne, a trusted business partner who, though not always convinced she's in the right, is willing to give Barbe-Nicole the space to make her own decisions. That's unlike François's brother, Phillipe (Ben Miles), who is aghast at the woman's audacity and determination to hold onto what's rightfully hers.
Written by Erin Dignam, from a book by Tilar J. Mazzeo, Widow Clicquot lives in a curious place where biopics are concerned. In a wise marketing decision, the film is in English, making it that much more approachable to a wine-crazed American audience. But the decision simultaneously deflates a bit of the film's effervescence, removing a sense of authenticity from the proceedings, making it difficult to ever really believe we're in the rolling hills of the Champagne region during its heyday. It's a quibble, sure, but it nevertheless changes the way the film is perceived.
That said, I will always advocate for films championing real-life badass women and despite its muted colors (Barbe-Nicole is always in black) and relatively low-energy plot (the action is in the discussions about the business), Widow Clicquot is an engaging and often edifying watch. Francophiles and lovers of bubbly in particular will appreciate the reverence with which the product is treated, and the history lesson that comes with Barbe-Nicole's journey to release her first vintage.
The film's most compelling scene is its final one, as the laws of the day catch up with the Widow Clicquot and she is forced into a corner where her business and personal lives are concerned. Though the societal pressures, war raging in the distance and more are all great hurdles for Barbe-Nicole, none seem quite as significant as her determination to hold on to her vision—for herself and her grapes. Widow Clicquot is not a splashy film to be guzzled down by the mugful. But it is quite worthy of the sips it earns, like a fine champagne should be.
Widow Clicquot is now playing in theaters.
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