Before today I was unfamiliar with the name Barbe-Nicole Clicquot Ponsardin, didn’t know the story behind the famed champagne Veuve Clicquot. So when I saw the trailer for Widow Clicquot, released earlier this month, my interest was piqued, mainly because it centered around a determined woman who, following her husband’s death—and in spite of opposition from various men—transformed his business and made it a great success. Off to the theatre I dashed, and I doubt I could have found better this weekend.

Usually, I’m allergic to British and American films about the French. Seeing Brits or Americans play the French tends to remind me of Mickey Rooney’s portrayal of a Japanese man in Breakfast at Tiffany’s. However, what I was looking for in Widow Clicquot was respite from the modern world and an inspiring lead female—not an entirely believable depiction of the Grande Dame of Champagne, her family and associates.

The story covers Barbe-Nicole’s life from her wedding to François Clicquot in 1798 to a hearing held roughly a decade later to determine whether control of her business should be taken from her (women were only exceptionally allowed to run a business in France at this time). We see her transform the Clicquot family’s vineyard, create a new wine, strategize a way around Napoleon’s blockade and begin to build a champagne empire. Keep in mind this is a woman born in 1777. More than once Barbe-Nicole must plead her case to prevent her father-in-law Philippe from taking away control of the vineyard François bequeathed her.

The screenplay by 69-year-old American writer-director Erin Dignam was inspired by the 2009 novel The Widow Clicquot: The Story of a Champagne Empire and the Woman Who Ruled It, by American-Canadian Tilar J. Mazzeo. It was directed by 54-year-old Thomas Napper, an Englishman who has worked closely with director Joe Wright—the film’s producer—for years, including on the beautiful 2005 film adaptation of Pride and Prejudice. Even though Widow Clicquot was filmed in France, including in Reims and in Franche Comté, it greatly resembles Wright’s adaptation of Pride and Prejudice.

This production delivers a tranquil break from the modern world’s cacophony and cheap synthetic materials. It was thoroughly enjoyable to see a depiction of the world before ubiquitous cellphones, screens and plastics. The pace, too, is relaxing, and we’re treated to violins throughout. The film stays close to the earth, its plants and weather: vines, grapes, rain, snow… we’re shown all four seasons. And even though it skips back and forth from present to past, the audience is never lost.

Moreover, the film mostly feels like it was made for the female audience. It’s narrated by a woman (Barbe-Nicole). It includes a brave, innovating and determined lead female, affection and congeniality between female characters and an affectionate mother-daughter relationship. It’s worth mentioning these female-oriented inclusions because they’re still too rare in film.

It’s also worth mentioning some of the women who worked behind the scenes, like cinematographer Caroline Champetier and line producer Christine Raspillère. Four of the seven producers were women, including 36-year-old Florida-born Haley Bennett, who plays Barbe-Nicole. Casting, set decoration and costume design were also entrusted to women.

Audience members clapped at the end of the movie—an uncommon occurrence nowadays. Though perhaps it shouldn’t have been all that surprising given that Widow Clicquot is the type of film that inspires civilised behaviour and superior manners. Also, end captions had just informed us that, among her accomplishments, methods Barbe-Nicole Clicquot Ponsardin engineered are still used in winemaking today. Besides, how can one be anything but impressed by a woman who succeeded in breaking Napoleon’s embargo? How’s that for inspiring? 

Widow Clicquot is rated R and has a running time of 90 minutes. It was released on July 19.

Alline Cormier
Film analyst

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