One of the better reasons for the continued existence of
period dramas is that, in a historical sense, it can help brings modern-day
issues into perspective. There’s only so much clamouring about "it’s just a
trend" or "yeah, now you care about
all this" when it comes to any social issue before it becomes quite grating to
have to rebut over and over again. Since cinema is a great tool when it comes
to information, and global history has all sorts of little nuggets that the
world could use some reminders of, it can make for some rather revelatory
moments. Like this film, the latest from writer/director Wash Westmoreland
about a pioneering French writer and her struggle for recognition.
Because of that, she is able to perform without that barrier
between her and her words, and what a performance she gives as a result! As the
quite forward-thinking and trend-bucking author and performer, she is brilliant
and shows a level of strength that… well, to be honest, I haven’t seen from her
since the legendary “try wearing a corset” scene from Curse Of The Black Pearl.
All on her own, she has that intoxicating charisma that puts fire behind her
words, which only makes it even better when she comes to verbal blows with her
utter cad of a husband in Dominic West’s Willy. Yes, Willy, because outright
calling him ‘Dick’ would’ve been too obvious.
Okay, I kid, but honestly, the relationship between them is
endlessly enthralling, both as a showcasing for the incredible wit of the
dialogue and as a depiction of all
the sexual politics. It is frankly staggering just how much ground this manages
to cover in terms of sexuality, bringing that oh-so-French approach to la
petite mort in its many facets.
Open relationships, same-sex attraction, even a showing of
genderqueer through Mathilde de Morny and his relationship with Colette; it’s
quite liberating to watch unfold, especially with Willy By Name And By Nature serving
as an avatar for a lot of the more toxically male approaches to sex,
hypocrisies and all. Watching him try to explain why him having sex with
another woman and Colette having sex with another woman are two entirely
different situations, where one deserves more concern than the other, is all
too real in how condescending it is. Then again, coming from a director who got
his start with Bruce LaBruce, this level of sexual awareness should be
expected.
But what makes the depictions of sexuality work as well as
they do are mainly because, alongside the quite sharp writing, it all lends
itself to the character arc of Colette herself. The writer trapped under the
thumb of her husband, who takes all the credit while keeping her locked in a
writing room to get the work done. The woman trapped in a bizarre position
where the people are accepting of her sexual tastes, but only to the point
where it appeals to men (director Wash Westmoreland also did porn earlier on in
his career, and that shows in how telling that perspective is to mainstream
sexual voyeurism). The person who wants to be her own woman, but both internal
and external pressures prevent her from doing so.
Rather than just restricting her persona to that of a
hard-done-by creative, as earlier works like The Wife and even Big Eyes to a
lesser extent did, that becomes only a part of the bigger picture that is her. It’s an exceptionally powerful
feminist piece, partly because it deals in honest liberation but also because,
like the true form of feminism, it is intersectional and takes more than just
gender into account. It’s a progressive period drama that, much like Mary Queen Of Scots, earns extra points because that progressivism holds up to historical
scrutiny. It’s almost like these issues have been around for a really long time
or something(!)
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