By Lynn Venhaus
An engrossing true tale of a visionary businesswoman’s triumph in revolutionizing the champagne industry in France, “Widow Clicquot” rises above its standard doubts-to–success template through poetic storytelling and a mesmerizing performance by Haley Bennett in the title role.
Director Thomas Napper unfolds a tragic heartbreaking love story while showing how a defiant young woman took control of a failing family business and her shattered life through renewed passion and purpose.
Her achievements established Veuve Clicquot as one of the finest luxury brands, which was founded by her father-in-law, Philippe, in 1772.
Based on a New York Times bestselling biography, “The Widow Clicquot” by historian Tilar J. Mazzeo, which was published in 2008, the film looks back at Barbe-Nicole Ponsardin Clicquot’s marriage to Philippe’s heir, Francois. Their fathers were in the textile business in Reims, France, and arranged the union in 1798, when she was 21.
As marvelously portrayed by a hypnotic Tom Sturridge, Francois’ unconventional, uncompromising ways and their grand passionate romance adds an intriguing component to contrast with her hard-fought solo battle to keep his dream and memory alive after his untimely death.
The screenplay by Erin Dignam, based on a story by Christopher Monger, keeps an air of mystery through flashbacks as to the bright comet that was Francois, and how his influence helped Barbe-Nicole work through her grief and loss. She was widowed at age 27.
Francois’ inspired flights of fancy were also part of his manic-depressive disorder that, left untreated, caused his behavior to be erratic and volatile, and Barbe-Nicole recognized his trouble in the paradise he envisioned. She was also his most steadfast supporter and benefited from his tutelage. Theirs seemed to be a true partnership.
Her invention of rose champagne, and her finest hour, “The Comet” vintage of 1811, is legendary, not to mention such breakthroughs as the ‘riddling table’ to clarify champagne and speed up the process, that is her inevitable claim to fame.
How she endured power struggles, and faced the male skeptics of that time, when events and their pomposity threatened to wipe out her inheritance, and the very reasons for her to thrive, is chronicled in accurate historic detail during the reign of Napoleon.
After all, women weren’t allowed to run a business, unless they were a widow who inherited the husband’s livelihood, and his trade embargo on not allowing merchants beyond France’s borders really stymied profits. Fortunately for her, and in the nick of time, his empire imploded.
Bennett, in a finely etched portrait, displays the temperament needed to be an effective Girl Boss, treating workers with kindness and gratitude, building loyalty, and creating a collaborative workplace. She has much to overcome, and her grit is admirable.
Her super-power is knowing when she needs help – gaining strength from her husband’s legacy, and heeding advice from the unlikely ally Louis Bohne, the family’s wine merchant, her husband’s close friend, and her eventual love interest.
Sam Riley is a lively Louis, whose support for their product keeps the business afloat and propels her to legendary status.
While other actors play the traditional naysayers, etched in broad strokes — rivals, turncoat Droite (Paul Rhys) and her father-in-law (Ben Miles), who actually is won over, she has cultivated loyalists in a young accountant, Anson Boon as Edouard Werle, and field foreman George (Leo Suter). Her faithful attendant, Anne, well-played by Natasha O’Keeffe (Lizzie in “Peaky Blinders”), is the friend she needs.
Bennett, outstanding as luminous Roxanne in the uncommon and underrated “Cyrano” in 2021, had a breakout year in 2016 with three films – “The Girl on the Train,” “The Magnificent Seven,” and “Rules Don’t Apply.” She continually impresses with her naturalism, grace and range.
She has convincing chemistry with both Sturridge and Riley, which sustains both love stories.
Sturridge, twice nominated for Tony Awards, for “Orphans” and “Sea Wall/A Life,” is also known for playing the main role, Dream, in “The Sandman” series on Netflix. He captures the tormented Francois, his declining mental health, his unusual outlook and his contagious lust for life.
His larger-than-life portrait makes Francois indelible, and you understand his deep connection to the land and his wife, and their daughter Clementine (Cecily Cleeve). He has the soul of a poet, and a problematic opium addiction.
Bennett’s narration of her diary notes, recounting her love for her husband, and her methods in finding a way forward through common sense and best practices she has learned along the way, is quite stirring, and provides an emotional center.
Above all, the widow’s perseverance stands out. I realize these are familiar plot points, especially with the men all bent out of shape about allowing a woman to run things. But hearing another woman’s remarkable success story never gets old.
While the movie is 90 minutes, it ends rather abruptly – enough so that I wanted to learn more about this woman rather than an epilogue wrapping up her next decades as the toast of the region. But it’s a terrific monologue to end on, and Bennett’s knock-out delivery will endure.
Adding to the visual and aural enhancement of the film are cinematographer Caroline Champetier’s lush exterior shots and her stressful interior shots, where unnerving and tense conflicts arise. Production designer Jean-Hughes de Chatillon and costume designer Marie Frémont contribute to the authenticity.
Bryce Dessner’s string-heavy score, at times restless, melancholy and hopeful, connects the facets in a memorable way. Known as part of The National with his brother Aaron, they have branched out with impressive film scores, including the aforementioned “Cyrano,” and ‘C’mon, C’mon.”
“Widow Clicquot” provides a fascinating account of a rare woman who smashed a glass ceiling in significant ways, and the three main actors are genuinely effective in bringing these vivid characters to life.
“Widow Clicquot” is a 2023 drama that premiered at the Toronto International Film Festival last November and is now in nationwide release, as of July 19. It is directed by Thomas Napper and stars Hayley Bennett, Tom Sturridge, Sam Riley, Anson Boon, Ben Miles, Paul Rhys and Natasha O’Keeffe. It is rated R for some sexuality and nudity, and the run time is 1 hour, 29 minutes. Lynn’s Grade: B.
