Colette
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Synopsis
Sidonie-Gabrielle Colette (Keira Knightley) was a rural French girl who became immersed in the libertine, bohemian side of turn-of-the-century Paris thanks to her marriage to a successful writer called Willy (Dominic West). But as part of her new life, she is forced to ghostwrite works for Willy to slap his name on and publish – and thus are born the “Claudine” novels. As her books become the toast of Paris, giving voice to an entire generation of women, Colette begins to push back against Willy – for credit, for ownership, for sexual expression, and for independence. Inspired by her real life, Colette also stars Fiona Shaw, Denise Gough, and Eleanor Tomlinson.
Cast
- Keira Knightley
- Fiona Shaw
- Dominic West
- Robert Pugh
- Sloan Thompson
- Arabella Weir
- Máté Haumann
- Ray Panthaki
- Al Weaver
- Virág Bárány
Atom User Reviews
Keira Knightly is superb in this historical drama. It's worth seeing just for her but the entire film is engaging. I see year end nominations for Keira!
A beautifully produced period price. Unfortunately, they could have done our heroine more justice. Colette led a fascinating life that her first husband was only a portion of. While she did begin her illustrious career with him, she did so much more with her life. She was a huge proponent of feminism and was extremely outspoken about it, a huge risk at the time. I wish the film had showcased her more, but Willy got what he wanted yet again, being immortalized on screen. The irony is palpable.
Metacritic
Colette is ultimately a feminist tale, but never one that wallows in self-pity or seriousness. It is also carried along lightly by a script with a streak of wit.
Colette is never dazzling. It has erotic elements, but nothing like “Becoming Colette,” which is, on balance, a weaker film. There’s not a single great scene. But there is no scene that is less than intelligent. Colette is smart, conscientious and absorbing, and gradually, in its diligent way, achieves a certain fascination.
If only more period pieces these days were as finely tuned and accessibly pleasurable as Westmoreland’s film.