THE WIFE

US, 2017, 100 minutes, Colour.
Glenn Close, Jonathan Pryce, Christian Slater, Max Irons, Elizabeth Mc Govern, Annie Starke, Harry Lloyd.
Directed by Bjorn Runge.

A film to be recommended for those who enjoy a solid drama with intelligent performances and themes.

The title is rather blunt. And, immediately it evokes different perspectives on the role of a wife. Are we looking at tradition, the wife as the mate to her husband, subservient to him, managing the house and household, a woman who is not to have a career beyond the home? Or, is the title ironic, critical of the tradition and urging women to move beyond the tradition? These questions have been relevant her many years but, in the context of recent years about sexual abuse and exploitation of women, the story seems more than relevant. It is challenging.

The action of the film takes place mainly in 1992. The married couple, the centre of the film, Joe and Joan Castleman, have been married for 35 years. They have two children. Joan has been supportive of her husband all these decades, especially with his reputation as one of the greatest living authors and now being informed that he is to receive the Nobel Prize for literature. There is great excitement, exhilaration at the news.

While Jonathan Pryce is excellent in the role of Joe, the exuberant narcissistic novelist, this is Glenn Close’s film. It is certainly one of her best performances, a strong screen presence, her mature appearance, a strength of character, and, of course, the probing of the reality of her life in the light of her husband’s work and the possibilities that she had, but…

There are some flashbacks to the meeting of the couple (played by Harry Lord and Glenn close’s actual daughter, Annie Starke) when she was her husband’s student and had written an excellent short story, her baby sitting for him and his wife, and her love for him. This is in 1958. There are also some flashbacks to 1962 and 1968 and glimpses of their lives together and, especially, chose success in growing reputation. There is a telling scene where a successful author (Elizabeth Mc Govern) advises Joan to give up any thought of a career in writing, little hope in a man’s world.

The main action takes place in 1992, some drama on the plane to Stockholm, but principally the two days in the Swedish capital. Joe has no difficulty in being in the limelight. Joan prefers the shadows, not wanting him even to thank her during speeches, very embarrassed when he does. But, we might have guessed, Joe has a roving eye, even to the young woman appointed as guide. (And, in some irony, the Nobel committee are happy to have someone assigned to help Joan: for shopping and for beauty parlours!).

There is a subplot about the couple’s children. The daughter is happily married, pregnant and gives birth to the joy of the grandparents. The son is an aspiring writer (Max irons), supported by his mother, hurt by his father and his seeming neglect, and something of a dampener on the celebration. But the complication is a journalist who wants to write Joe’s biography and is shunned by Joe. He is Nathaniel, played by Christian Slater. Of course, his questions and interest raise curiosity in the audience, and the last part of the film answers the curiosity.

In the aftermath of the acceptance speech and dinner, complications arise for both Joe and Joan – which, of course, it is over to the audience to see and appreciate.

1. A plain title? The positive meanings, wife and support, equal partner? Love? The negative aspects, the supportive and more menial role?

2. The opening in Connecticut, the American background in homes? The contrast with Stockholm, the landmarks, the city in winter? The hotels? The Nobel ceremony halls? The musical score?

3. The time shifts? The culmination in 1992? Going back to 1958 and the experiences, 1962, 1968? The cumulative effect? On the picture of Joan? On the picture of Joe?

4. The female perspectives on the film, characters, expectations, wives and their place, possibilities for development, the barriers? Creative women, women ignored, women downplayed? The realities?

5. The introduction, the couple in bed, the suggestions of the relationship, Joe dominant, Joan compliant? As a couple? The sex talk? The phone call, the news, happiness, leaping on the bed (as they did in the flashback)? The Swedish information, the accolades?

6. Married for 35 years, the ups and downs of their marriage, the pregnancies, David, his sister and her pregnancy? David and his story, his mother supporting him, his father seeming not to support him, David hurt and resentful? The group photo of the family for the media?

7. On the plane, the bond between the two, the later comments of the flight attendant? Nathaniel on the plane, his wanting to talk, Joan’s reaction? Joe’s negative reaction?

8. Audience impressions of Joan, Glenn Close’s presence, performance, appearance? Strong, controlling? The importance of love? Her being in the shadow, Joe and his bluster? The response to Joe’s career, creativity, reputation? Response to Joe, his reactions, his narcissism? Her response to support David?

9. In Stockholm, meeting the authorities, their being feted, range of people, photographs, speeches, the guides, Joe and the rehearsals and his collapse, the support for Joan – and her reaction to being told it was for shopping and for beauty parlours? Joan being retiring, not wanting thanks, retreating? Her keeping her eye on Joe? The revelation of his affairs, her forgiveness?

10. Joe, boisterous personality, attention, the rehearsal, his reactions, the bowing, his fainting? Joan and her going out? Her being pursued by Nathanial, persuaded to go for the drink, the later denial, later admitting the truth?

11. Joe, his guide, flirtatious, the kiss? Joe and his breakfast, absent from his room? The gift of the walnut and the memories of walnuts in the past, the messages on the walnuts? Joan flinging them at him?

12. The effect of the flashbacks, Joan as a student, young, her story, her baby sitting, Joe’s wife, the squabbles in front of Joan, throwing the tie? Joan going to his office, the attraction, in love, telling the child that she intended to marry Joe?

13. The social, the author, advising Joan not to pursue writing, that you would have to remain anonymous? The scenes with Joe and Joan and the writing, the editing?

14. The moods in Stockholm, the change with the phone call, the birth of the grandchild, the excitement?

15. Joe and Joan over the decades, from 1958, home together, the progress of the novels, Joan and her work, the success? 1968 and the growing reputation?

16. David, in Stockholm, surliness, reaction to his father, in the car, arguing with him, his father’s stern judgements, allegedly encouraging and disciplining him? The ceremony, the tie, his arriving late, the revelations?

17. The ceremony, Joe’s speech, the dinner, the lavish praise of Joan? Her leaving, the spill on her dress, Joe going after her? In the car, the argument, the responses, truths told, the flashbacks?

18. The revelation about Joan, editing the stories, her own story and praise of the story, the discussions with the author and her downplaying the role of women, urging her to be realistic? Yet her writing, eight hours a day, the effect on her children? The medal, her deserving it, throwing it out the window (the chauffeur later finding it again)?

19. The threat of Joan leaving Joe, the aftermath, the heart attack, his death and the fuss?

20. The drink with Nathaniel, his knowing the truth, her threatening him? On the plane, her composure, her secret? The flight attendant and the comment about the couple?

21. Joan and her future, David and his future?

22. A telling story about equality between men and women, lack of equality? Women and their subservience – and emerging more as their own person in the 21st-century?