The Wife

By Linda Winsh-Bolard


THE WIFE is an adaptation of Meg Wolitzer novel, directed by Björn Runge, screenplay by Jane Anderson. The film never overcomes the feel of an adaptation; it projects as a filmed stage play.

Joe and Joan Castleman are on their way to see Stockholm. It is a marvelous occasion: Joe Castelman was awarded the Nobel Prize for literature.

Nobel Prizes are not given to the young; the couple is certainly mature, with a long marriage behind them and number of established habits. Quite a few of those involve Joan looking after Joe’s well-being, often in minute detail. It is the old cliché of a wife serving her great man, somewhat scattered great man, as it usually is, right? Or is it?

Joan repeatedly denies being a victim or giving anything up, Joe, also repeatedly, states that without his wife, he’d be nothing. His wife, who gave nothing up for him, and who does not write. Yet, when asked by the king what is her occupation, Joan answers: “I am the kingmaker.” “My wife would say the same”, replies the king.

The Castlemans’ are accompanied, on their journey and in Stockholm, by two sidekicks, the writing son and the nosy journalist.

This is all so predictable. My original expectation was an insight into what does it mean, and take, to be one of these supportive, overlooked wives. We have one, short, scene showing us what it might be like. It merely whets the appetite.

The story would have been far more interesting, had it focused on the aspects of domestic drudgery that underpins the success of one in any married couple. Far more insightful and touching than pushing the twist.
The Wife is not the first to work this twist, which might have been more common that we suspect, far longer than we suspect, simply because women were (and to large degree still are) perceived as weak ad talentless. Good supporting staff, never the star.
Of course in it its time, it would have been more surprising, as would be the way the couple meets and marries.
In our time, the uneven burden of marriage is more interesting. What does it really take, at home, to make it possible for one spouse to pursue success? What tasks, responsibilities, disappointments, desires and despair does it all involve? Why are we never focusing on this? It affects so many people!

In the film, lavishly staged, Joan (Glenn Close) is quietly seething while still fulfilling her marital duties, while Joe (Jonathan Pryce) is obliviously selfish and loving the limelight. Their aspiring son David(Max Irons) is torn between expectations and disdain, while the daughter is- giving birth to their first grandson. The journalist, Nathaniel Bone (Christian Slater), smells a rat.

Really, that traditional. A lot of the action is traditional with some small cracks in the polished exterior. This is supposed to build tension, as are the cutbacks to how the couple met and how did all this come about. It fails. Possibly, because the underlying deceit is also predictable. The end is not shocking; it feels like copout.

Joan Castleman and Lynne Cheney (Vice) have more in common than you’d expect. We have two films portraying king makers; we have none that deals with the inside of how this feels on daily basis. Not much has changed since 1958.

Visually, the film is more than satisfying, the staging is better than any Harry Potter movie ever achieved. Light, texture, costumes and ancient pomp accompanied by fat falling snow flakes. Hollywood at its best.
As of, most of it is in Glasgow, not in Stockholm.

Glenn Close acting is what makes The Wife memorable. Her face, tiny movements, her visible perception of reality, her disdain for the deceit. That is, what is remarkable in this film. Not forgetting helpful camera and director.

What should have been, the traps into which we fall and that destroy us, failed.

It got drowned in richness of sets, pomp of circumstances, lack of circumspection.


Directed by Björn Runge
Cinematography by Ulf Brantås
Music by Jocelyn Pook
Stars: Glenn Close, Jonathan Pryce, Max Irons, Christian Slater.
Edited by Lena Runge
Production company: Anonymous Content, Meta Film, Tempo Productions, Silver Reel, Spark Film and Television
Distributed by Sony Pictures Classics