Colette (2018)

Set in France at the turn of the 20th Century, this film tells the true story of Colette, an author who desperately wants to be recognised in her own right.

Colette (Keira Knightley) is married to Willy (Dominic West), a womanising celebrity in Paris, known across France as a gifted writer. The problem is, he hasn’t written a single word of anything he is known for; he merely contracts ghostwriters to write everything for him.

Once he discovers that Colette has a way with words, it isn’t long at all before he demands that she pen his latest project: a novel that will catapult his name into the annals of great literature.

Wanting to please him more than anything, she agrees, and the resulting work - Claudine at School - becomes an overnight bestseller, necessitating the need for multiple sequels, adaptations, endless merchandising deals, and more.

And yet Colette never receives any credit for all her hard work. Willy continues to take all the glory for himself, much to the chagrin of his wife.

I can’t really say any more about the plot without spoiling anything for you, the viewer, so will instead move on to a few other points worth mentioning.

Firstly, the production design (by Michael Carlin) and costume design (Andrea Flesch) are absolutely impeccable. I did not for a second doubt that I was observing life in 19th Century Paris (and surrounds). Everything we see on the screen adds to the overall atmosphere, and there are no disappointments in either of these categories.

Secondly, the performances of the cast, which to say the least, are divine. Knightley - in the title role - truly shines at every moment. She has come a long way in her career, and it wouldn’t surprise me in the slightest if we don’t see her accepting an Academy Award in the very near future.

West also gives a beautiful performance as Willy, and all the scenes between the two of them are positively electric, full of raw emotion, yet handled with just the right amount of subtlety and nuance.

The music (while slightly anachronistic in parts) is perfect in every instance. There isn’t a lot of score in the film, but where there is, it is truly inspired, and perfectly suits the action on screen, or the emotion of the scene which it supports.

The script (by Richard Glatzer, Rebecca Lenkiewicz and director Wash Westmoreland) is also superb. The dialogue is very British (appropriately, as this is a British-made film), and though I would classify the film as a drama, there are many laugh-out-loud moments in the script. A large proportion of the dialogue feels like it is straight from the wittiest of British comedy, and allows for brief interludes of tension-relieving laughter through the serious drama of the film.

An honourable mention must go to Fiona Shaw, who plays Colette’s mother, a role she handles so well that it is natural to assume the two of them have a long and touching history together.

A beautiful film that ought to have been more recognised that it has been (particularly with the upcoming Academy Awards), this is a truly beautiful work of art. It may not be completely perfect in every respect, but it was certainly an experience to watch.

7 out of 10.