Westmoreland’s quirky world is bubbled up by this sharp old book style script that layer after layer manages to keep its engulfing essence constant.
Westmoreland’s quirky world is bubbled up by this sharp old book style script that layer after layer manages to keep its engulfing essence constant. For, for once, both the source and the adaptation is cinematic enough to bang its way out of the room. It does best what Burton’s Big Eyes unfortunately failed to do so. Working on a similar case, Westmoreland never gives you an opportunity to argue back. The annoyance level that the character goes through ought to communicate on such a script and it does in here. And even though it relies upon that tensed awkward empty moments, throughout the course, the emotions never grows shallow and the energy never wears off.
As once a character mentions “the lease”, Westmoreland has managed to get hold of it. He strains the characters and stretches the lease up till it is about to break and burst out the door. And just when the film reaches that peak moment, he lets go of all and increases the range of the lease. Resuming the clock from zero once again, this ping pong of the viewers’ emotion and makers’ puppeteering nature is continued till the last frame. It is free from the your usual structure despite of having familiar textbook tale.
And emerging as an essential emblem to the current society as well as of the era that the tale revolves around, the maker takes you to different places with a message that bodes well as a metaphor for the entire movie. Focusing on almost a marital issue by imputing fame, art and legacy, it elevates the emotion and the gist of the issues on a much higher and louder scale. So, fiddling with arguably a family drama as such, the storyline demands the performance to a point, that it relies a lot upon it.
Especially, when the couple gazes each other across the room with envy and rage or when there is an awkward silence in the room. And Knightly as a free spirited ahead-of-her-time artist dissolves into the persona of Colette. Her resisting force is much stronger than the West’s man-ly dark abhorrent force. Her performance as an independent avant-garde open minded character breathes life into the movie everytime it loses its grip in order to foliate the screen with bright colors and stunning visuals. But challenging such a performance on screen, demands much more grittiness which is brought in by West in his suit of armor that is held as a shield for his dogmatic opinions.
He makes you clench your jaw and pop your nerves every time he appears on screen. The injustice in his character is justified aptly by his devilish performance. Westmoreland has made a balanced movie. If the emotions aren’t shared then the opinions are and if the credit isn’t shared then the choices are. Smuggling the emotions like such the film may be mechanical at times but is never chalky. Colette is a fine devoured art, fabricated in a period set pieces it still manages to show us the current state of the society.