Colette

Having the film as English originally affected how it flowed and it would've made much more sense to make it in French, especially as Colette writes in French and reads in French throughout the film.

My main criticism of this film is that in my view iconic non English characters rarely work if portrayed by actors of another nationality. I suspect I may have enjoyed this interesting story based on the real life experiences of .possibly the most famous female French .author Colette more as a French film with French actors. I just think it may have lost some of the subtlety of language and atmosphere The actors Keira Knightley as Colette and Dominic West as her husband Wily are good in their roles but imagine for example Beatrice Potter portrayed by Audrey Tattou or Agatha Christie starring Marion Cotillard it would be odd to my mind also and fail to successfully capture their Englishness . In this movie the dialogue is totally English but when Colette is writing, she writes in French, perhaps I'm too picky , it just seemed a little strange. The story of a husband taking the fame and literary credit for his wife's brilliant writing talent and the wife's compliance to hold a marriage together was told earlier this year far far more effectively in "The Wife" starring Glenn Close. This film is about Colette but at times seems dominated and more about Wily the husband they seem to me at times both totally unstable and incompatible especially sexually and emotionally. Willy, fourteen years older than his wife and one of the most notorious libertines in Paris, introduced Colette into avant-garde intellectual and artistic circles while engaging in sexual affairs and encouraging her own lesbian It's worth seeing , not great or an award contender as far as I'm concerned but a very interesting story about a fascinating character who wrote the famous Claudine novels and of course her famous 1944 novel Gigi, which inspired the much loved Lerner and Loewe musical of the same name.

The tale of Gabrielle Colette is a fascinating one, as it turns out. I was completely unaware of her story before seeing the film, and emerged from the cinema feeling as though I had learnt a lot about this literary legend.

Keira Knightley is remarkable in the title role. This is career-best form from her. She carries the film wonderfully. Denise Gough is also great in the role of 'Missy'. The direction from Wash Westmoreland was also superb. He was able to successfully take the script, and deliver it in the best way possible.

However, the film lets itself down from a weaker story/script where it constantly struggles to find and execute more positive moments from Colette's story. Instead, it focuses on the more gloomy moments from her life, leaving the happier moments sidelined. Some of the supporting characters lack depth, including: Eleanor Tomlinson's 'Georgie' and Aiysha Hart's 'Polaire'. These characters play an integral part in Colette's story, but, their lack of screen time, and the way in which they're written in to the story makes the characters have no real impact in driving the film forward.

This movie does have a few flaws which, overall, lets it down. But, it was still an enjoyable movie.

Colette is yet another tale of female empowerment: a woman with real talent trying to break out of the gilded cage she finds herself trapped in.

This is a true story, set in Paris in the late 19th Century. Colette (Keira Knightley), a beautiful country girl living in Burgundy is seduced by and then married to the much older Parisian 'literary entrepreneur' Willy (Dominic West). Willy is a "brand" in Paris: a well-known critic turned author. The only problem being that he does virtually no writing of his own but ghosts work out to his team. Colette exhibits a gift for writing slightly lascivious tales of her life (under the pseudonym Claudine) at her girl's school, where clearly nighttime swimming lessons taught more than back stroke! As a result, Willy fills a financial hole by publishing Colette's work in his name. The books fly off the shelves faster than the publishers can print them. But Willy has expensive habits and Colette gets locked into writing an ever-popular series but without a voice of her own.

If the "swinging 60's" started anywhere, it was probably in Paris during this time period! While Victorian England was staid and conservative, Paris - home of the Moulin Rouge - was a hot-bed of liberation. As a result, Colette and Willy's marital affairs are - erm - sexually 'fluid'. While Colette has to learn to live with her philandering 'Free Willy', he positively encourages the bi-sexual Colette to explore the other camp, as it were.

Keira Knightley turns in a truly cracking performance in the titular lead. No-one does 'brooding' better than Knightley, and she gets ample chance here to exercise that look, most notably in a train scene near the end of the film: if looks could kill.

Dominic West delivers as reliably a solid performance as you would expect from him, but he is such a despicable and loathsome character that it is difficult to warm to him.

Driving me mad (not sexually you understand.... although...) was the girl playing the American double-dip love interest Georgie: I knew her so well but just couldn't place her. It was the American accent that threw me: she is of course Eleanor Tomlinson, Demelza from TV's "Poldark", here showing a lot more flesh than she can get away with on a Sunday night on BBC1!

The film is obviously in English about one of France's literary greats (although curiously Colette writes in French). My guess is that the film will go down like a lead balloon in France as a result. A part of me would have liked this to be French language with subtitles, but maybe that's just me.

When you look at it objectively, Colette's story is quite remarkable: what a clever and determined woman.

Aside from Knightley, the other star turn in the film comes from cinematographer Giles Nuttgens (who also did "Hell or High Water"). The scenes, particularly the bucolic ones set in the French countryside, are simply gorgeously photographed. The framing of the shots is also exquisite with an impressive shot of the slog up a spiral staircase to the couple's flat being repeatedly used.

It remains curious to me how prudish both the UK and the US are still about sex on screen. In the UK the film is a 15 certificate; in the US the film is R-rated! Yes, there are some breasts on show, and a few mixed- and same-sex couplings (particularly during a frenetic 5 minute period in the middle of the film!), but they are artfully done and you don't get to see much more than the breasts. In comparison, the violence that would get meted out during a 15/R action thriller would typically makes my eyes water.

This is one of those films that is worthy, beautifully done, well acted but for some reason it felt to me like a bit of a slog. At 111 minutes it certainly felt a lot longer than it was. The middle reel of the film in particular is rather pedestrian (and yes, I recognise the irony of the fact that I just said there was the frenetic 5 minutes of sex during that part!). Maybe on the night I was just not in the mood for this type of film.

The director is Englishman Wash Westmoreland, whose last film back in 2014 was the impressive "Still Alice".

I'm glad I've seen it, and it is a lot better than many films I saw last year. But in terms of my "re-watchability" quotient, its not going to rate that highly.

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Very well done, interesting. A nice period piece. However, at the end the director states, after I thought I was watching a movie that was historically accurate, that he had changed several characters and other aspects to make them more contemporary (meaning: what he thinks the way things ought to have been 100+ years ago, vs reality) re: gender, sexual preference, racial matters, etc. As such, the movie to a degree is fiction; a lie. Which is sad, as it detracts from the ground breaking path that Colette lived.