Let me put it this way: I have zero expertise when it comes to champagne. I have had the fortune of experiencing one or two decent wines (not champagne though) in this life, but my drinking mostly consists of what working-class people usually drink—whiskey, vodka, and so on. The only reason I’m bringing it up here is because I’m about to extensively talk about Widow Clicquot, a film that’s so passionate about wine and the making of it. However, it is not just about that. Sure, the nitty-gritties of winemaking are an integral part of it, but at its core, this is a story about a woman’s resilience and willpower after all. Based on the book by Tillar. J. Mazzeo, Widow Clicquot, directed by Thomas Napper, tells us the amazing story of Barbe-Nicole Clicquot, who’s known as the Grand Dame of champagne wine. Haley Bennett, an actor I really admire, plays the title role. Tom Sturridge, notable for his lead role in the Netflix adaptation of The Sandman, extensively appears as Barbe-Nicole’s dead husband Francois. Sam Riley, who I remember from the Ian Curtis biopic Control (2007), plays Madame Clicquot’s wine seller and eventual lover.
Made within the standard biopic template, Widow Clicquot looks particularly gorgeous, as it should, considering the subject matter. It’s set in France, but the characters speak in English, thanks to this being an American production. Bennett, Sturridge, and Riley have all done really well in their respective roles, although Sturridge’s wig could’ve been more convincing. There’s no way the film should be termed bad, but it does not make much of an impact either. The very last scene of the movie is possibly the only one that feels truly evocative, and that’s mainly what I’m going to be talking about here in this article.
What Happens in the Movie?
The time is the late eighteenth century. After the death of her husband Francois, young widow Barbe-Nicole Clicquot decides to take charge of their vineyard. The film opens rather oddly, with poetic monologues about the relationship between Barbe-Nicole and her husband Francois and their shared love for the winery. Francois has died abruptly, and the vineyard is not doing okay, financially. Francois’ father Phillipe wants to sell the vineyard, but Barbe-Nicole is adamant about keeping her husband’s legacy above and running the business all by herself. Phillipe is not too convinced with his daughter-in-law’s abilities but ultimately agrees to her demand.
Barbe-Nicole doesn’t have it easy, understandably. The men around her, be it Phillipe or Droite, who’s in charge of operations in the Vineyard, don’t seem to be happy with a woman having such power. They don’t even try to hide their displeasure with it. There are some good men as well. Edouard, who’s in charge of the books, is pragmatic enough to not sugarcoat their terrible financial situation, but he’s extremely loyal to his employer and believes in her. Newly appointed field foreman George is another man who’s very pro-Barbe-Nicole. Then we have Louie, of course, a famous wine merchant and a dear friend of Barbe-Nicole. Louie also used to be the best friend of the late Francois, and there are clear hints in the film that there was more to their relationship than friendship. Not that it mattered to Barbe-Nicole, as she also admitted to having a thing for Louis. I like how the film has no inhibitions about showing relationships in their purest forms and not through moral lenses.
The already grim situation turns further worse when a shipment to Amsterdam is ruined. Louie is able to save a few bottles though, and later sells them to the Russians, marking Barbe-Nicole’s first sale. Thanks to Madame Clicquot’s ideas and the effort of the workers, the business starts to flourish eventually. However, there’s no scope for smooth sailing as Barbe-Nicole is now charged with breaking the Napoleonic Code 1804.
What Happens to Madame Clicquot?
As I’ve said before, Widow Clicquot takes its winemaking quite seriously, but the woman who’s running the show and facing all the odds is equally important here. Barbe-Nicole’s relationship with both her husband and Louis adds vigor to the narrative. Francois is seen only through flashbacks, of course; the eccentric man was deeply in love with his wife while his unbridled passion for the vineyard was very much visible. You also feel his affection for Louis the moment you see the two of them together. However, as the film progresses, Francois’ mental health issues get the better of him. Given the time period the story is set, it’s quite impossible for him to get diagnosed with anything or get the help he needs, but from what can be seen in the movie, this does look like a case of BPD, at least symptom-wise. Barbe-Nicole tries her best to be there for her husband, but in the end Francois gives in to his demons and kills himself. Barbe-Nicole is left alone, with their only daughter Clem, who’s eventually sent to live with her grandparents. That breaks Madame Clicquot’s heart, but there’s no way she can run the vineyard and bring up her little girl.
A relationship between Louis and Barbe-Nicole was always on the cards, right from the moment the two of them met for the first time. There’s mutual respect amongst the two, and it’s only natural for Barbe-Nicole to seek solace in the man her husband used to love. Of course, she’s put under scrutiny for an act like that, with men like Droit attacking her and questioning her character. The final scene of Widow Clicquot is set in the courtroom, where everyone is trying to be an expert regarding Barbe-Nicole’s life and the way she’s living it. She’s even asked if she’s deliberately not marrying Louis to take advantage of the rule that allows widows to run their husband’s businesses. Not only does Madame Clicquot shut everyone up, she also questions their authority over her life. The entire scene is an apt description of the trouble a woman has to deal with if she’s successful in a patriarchal society; that’s strangely relevant even today. The film ends with telling us how Barbe-Nicole never remarried, and that she changed the course of winemaking in the future. A woman like that must be celebrated by all of us. This film does an adequate job at that, but it could have been handled better for sure.
