Widow Clicquot

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This genre is hard to like, i mean the last enjoy was Ridley Scott Napoleon, the war tactics n performance of Phoenix before that the first mutant French Perfume. Watching the trailer got interest of women running vineyard during Napoleon reign, well here my review. The script was well balanced by the flashbacks between Barbe n Francois relationship on they met, showing the art of making it, after he's demise Barbe was taking over the business, n probe he's father in law who want sell it that she can do it, really putting her to limits to finding the right taste to selling it in undisclosed locations. I mean they did their homework right to make it into something else. Haley Benett gives a very straight edge of acting on running the vineyard, her relationship with he's seller Louis play by sarcasm actor Sam Raley really is the gold of risking it all n of course been her accomplice, the many challenges she endured to find right taste n find a buyers. Also like the location where it was film, showings the warehouses, to the lab where most taste take place n how they take care of the harvest, meaning Sideways show more whine town, n better. But widow shows the progress of making it. So conclude is very important period piece that peak ye interest if wanna learn how whine is made. Or see a true story of a woman running a business during the Napoleon period of France's. Is something that of this gender need to see if ye gonna start a small business. Kudos for ye.

Working in the industry, I am aware of the place that Madame Clicquot holds in the champagne world to this day. I had read this book and learned some very interesting things about what she did and how she did it. More so, some of her 19th century innovations that are still today's standards. Maybe her most important innovation, the riddling of the bottles during the bottle fermentation, is bearly noted and definitely not named. What came across in the movie was almost none of that. This ended up somewhat of a confusing love story set against the vineyards of the Champagne region of France. Even her love story with M. Clicquot is ignored, even to the fact and reasons for their marriage taking place in the wine caves under Reims. This could have been a great story highlighting a woman who really beat the odds when everything was working against her. I had hoped that this might be a good movie for my co-workers to view to learn more about a product we sell quite often. Having watched it, I cannot do that in good conscience, however!

Haley Bennett turns in a reasonable effort here as the eponymous lady who has to keep control of her late husband's vineyards at a time in history when Napoleon's wars were raging throughout Europe - and France wasn't doing so well, by this point - and his laws prohibited women from managing so much as a dinner party. The death of François (Tom Sturridge) has left her a property that her former father-in-law Philippe (Ben Miles) is keen to sell to the neighbouring Mr. Moet but with a bit of help from accountant "Edouard" (Anson Boon) and roguish distributor "Droite" (Paul Rhys) she is determined to develop her own brand of Champagne and, probably more precariously, get the stuff to the well-heeled markets readily prepared to pay through the nose for wine without the "frog-eyed bubbles". The framework is here for a good story, depicting the struggles of a woman - and a father - coming to terms with an untimely death amidst a wartime environment. We do learn a little, via flashback, that her marriage was loving but that her husband became mentally ill putting huge stress on this woman and on their young daughter but the dramatisation is rather let down by a typically uninspiring performance from Sturridge and some quite weak storytelling. Certainly, the film looks great and it illustrates well the difficulties in getting the vintage grown in the first place before bottling these mobile explosive devices and taking them, by wagon, to market and it's quite richly scored by Bryce Dessner, but director Thomas Napper has over-relied on the aesthetics of the film and put too little into the characterisations of a woman who clearly knew her own mind and was not going to let her beloved husband's legacy disappear - even at the risk of bankruptcy. It's worth a watch, but a cinema screening doesn't really add much value to this undercooked period drama that just lacked, well, fizz.

This is the feeling I get from this movie. Even the writers felt the same need to make Barbe Nicole in need of male attention and companionship of some form or other. I actually resent the angle that this movie takes. Instead of focusing on this women's determination, resilience and ingeniousness, we are served this sob tale of a young woman's curbed romantic life, as she loses her beloved husband (who we later find out was not much of a gem) and then she has to deal with men trying to "protect" her from herself. She becomes some sort of early feminist icon with some very bad dialogue - the wheel and the hierarchy and how she must project strength as a woman amidst men who only see the weakness of her sex. That scene in court with Bohne coming to her defense with his miraculous "solution" I wanted to scream so much at him... She has a great comeback but how did the trial end though and why? Plus the movie compresses quite a few years and I doubt a woman of that era would have allowed her maid or housekeeper to call her by her first name. That one really irked me. Anyway, I got really tired of Francois and all the flashbacks and the musings and the wistful stares. It's great as a period movie, it hits all the regular beats, but I found the characters and the story unsatisfactory.

Combining all of the elements that go into making a fine film and blending the various ingredients in just the right proportions is akin to the practice of crafting a fine wine - and quite an irony here given the subject matter of this engaging cinematic biography of Barbe Nicole Ponsardin Clicquot (1777-1866) (Haley Bennett), the French winemaker who became better known as "the Grand Dame of Champagne." Having inherited the business of her husband, François (Tom Sturridge), after this death, she vowed to continue operating the winery, carrying on his vision for innovation in the face of stiff competition from the rival Moet organization. But doing so was quite the challenge in light of financial difficulties, vintage failures, the questionable business practices of competitors, the responsibility of raising a young daughter (Cecily Cleeve) as a single mother, onerous operating conditions during the Napoleonic Era and the profound doubts of others (most notably her skeptical sexist father-in-law, Philippe (Ben Miles)) about whether a woman could successfully run an organization like this. Director Thomas Napper's latest chronicles the Widow Clicquot's inventive efforts to address these issues, as well as her ambitious initiatives to live up to the dreams of her late husband, in large part with the assistance of her loyal distributor, Louis (Sam Riley). In telling this story, the filmmaker seamlessly blends challenging events of everyday operations with flashbacks of a more personal nature, exploring the heartfelt feelings that provided the basis for the Clicquot philosophy of winemaking. The picture's superbly crafted narrative and screenplay, combined with exquisite period piece production values and excellent performances (particularly Bennett in one of her best on-screen portrayals), make for an involving, multifaceted watch. Admittedly, there are times in the second half where the story meanders somewhat, and some may find that this release gets a little too detailed when discussing the technical particulars of vinification. However, much of this offering is evenly balanced, effectively holding viewer interest about a subject that's not especially common in the annals of filmmaking. What's more, though, on a more philosophical level, this release celebrates the inherent joy and passion involved in the act of creating, ideas applicable to the manifestation of any artform, be it wine or painting or whatever else we're capable of envisioning and bringing into being. And, if that's not worth drinking a toast to, I don't know what is.

Relatively dry period drama "Widow Clicquot" is the true story of how in the late 16th century the titular Barbe Nicole Clicquot (rising star Haley Bennett - excellent) inherited the Clicquot vineyards of Champagne from crazy genius husband Tom Sturridge, and with steely determination (and the support of Sam Riley) fought off largely chauvinistic pressure from those around her (including Ben Miles & Paul Rhys) AND oppressive Napoleonic laws, to forge a legacy living on today through Veuve Clicquot. Thomas Napper directs solidly, and Erin Dignam's screenplay (cut with flashbacks) is interesting, tho perhaps only REALLY interesting to wine enthusiasts.

Widow Clicquot is an adaption of a true story about Madame Barbe-Nicole Ponsardin Clicquot, who was to become known as the "Grande Dame of Champagne". Widowed after her mentally ill husband commits suicide, Barbe-Nicole must take on the male hierarchy to have control over her deceased husband's vineyard and in doing so continue with their quest to create something great, during a time when Napoleon had blocked trade routes. Haley Bennet was superb as Barbe-Nicole, you felt her power and her grief. I have to say she reminds me of Jennifer Lawrence in looks. The whole cast was fantastic, if you love historical dramas about strong women, I highly recommend it.