Movies with Meaning, by Brent Marchant, TGMN Movie Correspondent

Exploring Personal Resurgence Through the Arts

When everything gets taken away from one’s life, it must be nearly impossible to find something that provides a meaningful reason to carry on. The pervasive sense of hopelessness that sets in makes it difficult to establish a purpose in one’s existence. And so it often is for the incarcerated, individuals faced with an uncertain future of indeterminate duration. Under conditions as difficult as these, realistically speaking, one can’t help but wonder whether even the prospect of rehabilitation will actually pan out as a viable option for reversing one’s fortunes. But, for some, there’s hope through a seemingly unlikely source – the arts, as chronicled in the new fact-based drama, “Sing Sing” (web site, trailer).

John “Divine G” Whitfield (Colman Domingo) struggles to make his way through everyday life as an inmate at Sing Sing, the infamous maximum security penitentiary in Ossining, NY, located on the banks of the Hudson River about 40 miles north of New York City. Having been sentenced to a life term for a homicide he didn’t commit, he eagerly awaits his parole hearing in hopes of finally proving and establishing his innocence, a springboard to his release and a return to mainstream society. Until then, however, he looks for ways to bring meaning to his life, such as assisting fellow inmates with preparation for their own parole hearings. But his greatest source of personal satisfaction comes from a somewhat unlikely source – the arts.

As a driving force in the prison’s Rehabilitation Through the Arts (RTA) program, Divine G plays a leading role in this initiative aimed at giving inmates a positive outlet for their creativity, talents and feelings, as well as providing them with a means of turning their lives around. He and his peers work tirelessly to stage and perform theatrical productions for the prison population, a much-needed diversion for those behind bars. It’s based on a passion that has long been in Divine G’s blood, having attended New York’s High School for the Performing Arts as a teenager, where he gained experience as an actor and dancer, skills he’s at last able to put to use. In carrying out this mission, he does a little bit of everything, from writing to acting to staging, with the invaluable assistance of acclaimed writer-director-producer Brent Buell (Paul Raci), Divine G’s best friend Mike Mike (Sean San José), and, of course, the fellow members of the RTA troupe (many of whose real-life alumni portray themselves in the picture).

In addition to focusing on the experience of Divine G, the film tells the story of Clarence “Divine Eye” Maclin (playing himself), a newcomer to the RTA program. Unlike the other members of the troupe, however, Maclin is a renegade and outsider who frequently comes across as someone who’s ill-suited for the program. He’s rougher around the edges and has a reputation as something of a prison yard bad ass, selling drugs and strongarming others when he sees fit. In fact, given his overall attitude and his outspoken opinions about the program, there are times when it seems like Maclin himself isn’t sure why he sought to become an RTA member in the first place. And, yet, for whatever reason, there he is, looking for a way to fit in – and to understand that both as a member of the group and for himself.

As one of the principals of the troupe, Divine G tries to help Maclin assimilate, but it’s a process that often doesn’t go smoothly. He’d like to believe that the newcomer has a place, but he has trouble seeing what it might be. Which is where Brent steps up to the plate – he can see that Maclin possesses qualities that can help to shake up the group, to help make it more dynamic, a contribution that will benefit the program and empower the new arrival in ways he probably hadn’t envisioned for himself.

The film follows the development of the RTA’s latest production and the unfolding of the personal and artistic relationships among its cast members. In doing so, the picture is thus more character-driven than narrative-based, providing an outstanding showcase for the players to come alive as readily defined, fully fleshed out individuals (undoubtedly a benefit of having an ensemble of actors portraying themselves). While the story may consequently meander a bit as it plays out, it nevertheless gives viewers an up-close, intimate look at the emergence of the troupe’s theatrical work in a setting not typical of what most actors go through in bringing their work to life. It also focuses on the triumphs and disappointments that they experience, some of which are germane to their environment and others of which are not unlike what all of us go through in our everyday lives, albeit under conditions far different from what many of us are familiar with or accustomed to.

In the end, though, “Sing Sing” is most inspiring for its depiction of the resilience of the human spirit under extremely trying conditions. It celebrates the act of creating for its own sake and how that practice can feed the soul at a time when it’s most in need of nourishment. And it shows how any of us can rise above our circumstances as a means to get by. Art has a tremendous power to accomplish that, as these characters – and the actors who experienced their stories firsthand – so aptly illustrate for all of us.

When the circumstances of our lives become seemingly insurmountable, it’s time to get creative in finding ways to cope and overcome those difficulties. Indeed, it’s a matter of survival, considering that the alternative is surrender and all of the devastating ramifications that can come with it. Of course, it’s a matter of choice, and a daunting one at that, but it’s certainly preferable to rolling over and giving up. And it’s at times like these when the role of our beliefs takes on a crucial importance, for they play a key role in the manifestation of the reality we experience. It’s unclear how many of us have heard of this school of thought (including those portrayed in this film), but it’s one of the few things we may have available to us to hold onto under these kinds of conditions.

Based on their actions and choices, the men of the RTA have obviously chosen not to give in. They’ve come to believe that they and their lives have value, that they can bring meaning into them and themselves, both in seeking to rehabilitate their existences and in contributing something to their world and the lives of their peers. They’ve drawn upon such thinking in ways that allow them to express themselves, to engage in acts of creation in one of the highest levels achievable – the arts. And, with it, they’ve brought satisfaction and fulfillment into their lives and those of others.

Divine G understands this clearly, given the depth of his involvement in the RTA program. Not only does he participate in it as a performer, but also as a writer, having penned the scripts for several of the troupe’s productions. These efforts provide him with an outlet for his creativity, as well as a foundation for his future, a line of probability to follow should he one day get the chance to pursue his dreams as a free man. And it’s wisdom that he seeks to pass along to Divine Eye as well, someone who at this point is a diamond in the rough but could easily come to sparkle if he believes in himself and gives the process a chance to work.

The aspiring actors here have also become proficient at drawing to themselves the resources they need to make all of this possible. Their presence behind bars is, in itself, not a deterrent to the formation of and adherence to beliefs that lead to the inspired manifestations they seek to create. First, they have one another to draw upon, using their collective collaborative capabilities to bring their productions into being. And then they have the guidance afforded them by Buell, an artistic counselor who gently but insightfully helps to show them the way, not only as performers, but also as empowered individuals capable of great things when they believe in themselves and their capabilities. Buell also grants them tremendous leeway in how they conduct themselves, including everything from what they perform to how they perform it, a kind of freedom that’s a rare commodity in their world but that they cherish deeply when allowed to express it.

The impact of this effort is undeniable. The program’s participants are different people from whom they were when initially incarcerated. By taking part in the RTA, they’ve significantly helped foster their own rehabilitation, enabling them to move on to successful careers on the outside. They’ve also helped to spur on the program’s growth, which now operates out of six facilities in the New York State prison system, offering programs that go beyond theater to include music, dance, visual art and writing, as well as initiatives aimed at helping inmates reimagine themselves upon reentry into society and aiding RTA alumni in pursuing new ventures in their new lives. Something must be working here, too, given that the organization’s web site boasts a healthy success rate, with only 3% recidivism among its participants, compared to a national average of 60% for those who don’t partake in such programs. It would appear that a little belief in oneself truly can go a long way.

With a cast featuring both professional actors and alumni of the RTA troupe, viewers witness the impact of this program in its efforts to bring meaning – and hope – to its participants during their time behind bars. Director Greg Kwedar’s second feature provides an up-close look at the lives of these aspiring actors, both in terms of their on-stage pursuits and their everyday lives under conditions most of us probably can’t even begin to imagine. While the picture’s narrative is admittedly a little thin at times, that’s more than made up for in the film’s superb performances, led by Domingo, Maclin, Raci and San José, who, like virtually everyone else in this fine ensemble, bring an unmatched depth to their characters and interpersonal relationships, easily among the best work in these areas that I’ve seen in quite some time. In doing so, this offering also takes audiences on a rollercoaster ride of emotions, from uplifting joys to heartfelt disappointments, revealing the tremendous strength of character driving these individuals. That’s particularly poignant knowing that many of those in this production can relate to their circumstances from firsthand experience, thereby infusing this release with a level of unabridged authenticity seldom seen on the big screen.

For its efforts, “Sing Sing” stands a good chance of being one of 2024’s awards season contenders, especially in the acting categories, showing us what’s possible when we allow our passions to surface for their own sake, especially when we have nothing to lose by doing so, a genuine source of inspiration from whom we might least likely expect it. The film is currently playing theatrically.

After watching “Sing Sing,” it might be easy to characterize this film as a story about its environment and carefully crafted characters, and that would be true to a certain extent. But, upon closer inspection, the picture carries a deeper meaning potentially applicable to us all, namely, how to cope with troubling circumstances in a positive and meaningful way by drawing upon our quest to create, a process that, when carried out successfully, can lead to the personal resurgence we so eagerly crave. It’s a life lesson that we should take to heart and apply when the situation warrants. Doing so may ultimately be our salvation, our own way of making that proverbial lemonade when the ingredients for it are all we have to work with. It may not be an ideal solution, but it can certainly quench our thirst when no other options are available. And, at a time like that, it just may end up tasting like the sweetest of nectars, something more satisfying than anything we could possibly imagine.

A complete review is available by clicking here.

A Desperate Plea for Humanity

 

There are so many things that can go wrong in life that it hardly seems wise, practical or prudent to go looking for ways to make our existence any more needlessly grueling. Yet, if we’re truly honest with ourselves, there are plenty of situations that can all too easily yield undue stress, pain and difficulty – and all as a result of our own making, too. But why would we do that? Why would we willingly seek to impose pointless hardships on ourselves and others when a little compassion, empathy and concern would go a long way toward avoiding such conditions and creating a harmonious, mutually beneficial, issue-free world? Indeed, to do otherwise defies common sense, yet we’re nevertheless often confronted with having to address such meaningless, unproductive circumstances, conditions desperately in need of benevolence as candidly depicted in the gripping new humanitarian drama, “Green Border” (“Zielona granica”) (web site, trailer).

Escaping tyranny to find a better life is a process frequently riddled with challenges, frustrations and desperate measures. So, when refugees hear about an allegedly credible way to more easily flee their circumstances and make their way to freedom, they often enthusiastically embrace the chance to avail themselves of the opportunity. Such was the case in 2021 with the supposedly unblemished promise accorded the “green border” crossing from Belarus into Poland, a port of entry into the European Union said to offer a comparatively less problematic passage for those leaving the Middle East, South Asia and Africa. It earned the reputation of being “green,” as in “green for ‘go,’” an escape route to which many were eagerly drawn.

However, as more refugees availed themselves of the green border, neither Belarus nor Poland wanted to deal with a flood of new arrivals. What’s more, it was believed in the conservatively governed Poland that the escapees posed a serious security threat to the nation’s well-being and sovereignty, that the refugees were “plants” sent there by Vladimir Putin and Alexander Lukashenko, the strongman leaders of Russia and Belarus, respectively, whose mission was to disrupt life in Polish society. Consequently, the border patrols in both countries engaged in aggressive campaigns of brutally rounding up and unceremoniously dumping the escapees back in each other’s territory. These repeated back-and-forth switches thus subjected those caught in the middle to inhumane treatment and unspeakable perils with each reversal, a practice little known outside the region at the time.

This film shines a bright light on this scenario, examining it through four interwoven story threads that explore it from the various perspectives of those involved:

• The Refugees. As portrayed here, immigrants from far and wide make their way to the green border as an entry point into the European Union. For many, Poland is not their final destination, either; many are bound for Germany, Sweden, the UK and other locales. However, as noted above, conservative Poles don’t believe that, assuming that the new arrivals will settle for the path of least resistance and put down roots in their country. The harrowing experiences of the refugees are depicted through a variety of individual stories, most notably that of a Syrian couple, Bashir (Jalal Altawil) and Amina (Dalia Naous), their three children (Taim Ajjan, Talia Ajjan, Sebabastian Svaton), and Bashir’s elderly father (Al Rashi Mohamad), along with a middle-aged Afghan woman, Leila (Behi Djonati Atai), whom they meet in transit. However, not long after seemingly crossing the border safely, their lives are thrown in unexpected turmoil, with a series of catastrophic incidents they hadn’t envisioned or prepared for.
• The Border Patrol Guards. As the refugees appear on the border, the guards patrolling each side of the crossing are charged with simple, straightforward orders: get the escapees out of their respective countries and into the territory of their neighbors by any means possible, no matter how aggressive or brutal they must be in the process. And most of the guards carry out those orders without any hesitation, sometimes even taking a perverse glee in their actions. However, not everyone readily goes along with these mandates, experiencing troubling conscience-related issues as a consequence. That’s very much the case with Janek (Tomasz Włoszak), who’s clearly conflicted despite efforts to maintain a façade to the contrary when in the company of his peers. But that changes when he goes home to his pregnant wife, who chides him, wondering how he can possibly live with himself.
• The Activists. Not everyone in Poland blindly goes along with the official government policies. Activists like Marta (Monika Frajczyk) and Masiek (Piotr Stramowski) do what they can to help out refugees in need. However, they must proceed cautiously to avoid serious penalties for breaking the law. They thus walk a fine line between providing much-needed assistance and keeping out of the way of authorities, a tightrope that often forces them to make difficult choices in light of the circumstances and consequences facing them and the escapees.
• The Reformers. For some who believe that the work of the activists doesn’t go far enough, there are the reformers, who are willing to take bigger risks to aid the refugees, thereby frequently putting both the helped and the helpers in serious jeopardy. These efforts are spurred on by Zuku (Jaśmina Polak), Marta’s sister, who’s not afraid to push the envelope when it comes to offering assistance, even if it involves behaving a little recklessly in the process. She and her cohorts, Sasza (Michael Zieliński) and Ula (Marta Stalmierska), win over an enthusiastic ally, Julia (Maja Ostaszewska), an online psychologist who works out of her rural home not far from the border. Julia had largely been on the sidelines where this issue is concerned until she becomes an unwitting participant in an incident that radically changes her outlook and behavior. In a heartbeat she switches tracks, zealously becoming involved in activities in which she once couldn’t possibly have envisioned herself as a participant. Together with her new associates, she tackles difficult assignments in hopes that they can make a difference and help change the minds of their countrymen.

As each story thread unfolds, they inevitably overlap with one another, showing how no one is isolated in scenarios like this, no matter how much anyone might like to think the opposite is true. It explores the soul searching in which each of us must engage, to help us decide how comfortable we might be with taking a stand or looking the other way under such diametrically opposed conditions. And it illustrates whether we’re capable of learning anything meaningful from these circumstances, both as individuals and as a collective society.

Not long after the time when this story is set, these considerations became crucial once again in 2022, when Poland faced yet another adjacent border crossing crisis, only this time on a much larger scale – the exodus of Ukrainians fleeing the nation’s devastating war with Russia. The question that arose in this instance was, did Polish citizens and authorities learn anything from the green border crisis? If so, what? And did the experience of the Ukraine exodus, in turn, help to rectify circumstances on the green border?

This is a film that gives viewers much to ponder, both in terms of the incidents that occurred on the green border and what we as supposedly civilized individuals can learn from them to carry forward in implementing new policies and practices. But, to address those issues, it’s imperative that we consider the beliefs that went into the reckless, irresponsible, short-sighted thinking and actions that preceded any such reforms. That’s due to the role our beliefs play in manifesting the reality we experience. It’s difficult to assess how many of us – including those involved in the various story threads in this picture – are aware of this school of thought. However, when we examine the magnitude of the events that can arise from such ill-considered thinking, we shouldn’t downplay the role that we and our thoughts and beliefs can play in how they unfold, not to mention the impact they carry. As “Green Border” illustrates, there could be a lot riding on it.

The circumstances of the scenario depicted here provide a poignant case study for the foregoing questions. The green border crisis didn’t “just happen”; it was created, arising from the input of all of the individuals involved in its manifestation. And that creation principally emerged from the thoughts, beliefs and intents that its creators put into its materialization, regardless of how consciously aware they were of it. But, in light of how things turned out, one can’t help but ask, why would anyone do that? Since when did intentionally harming the well-being of others yield anything beneficial? What would cause any of us to honestly believe that those seeking asylum would willfully harbor malevolent intents aimed at disrupting the social order of those supposedly facilitating safe passage to sanctuary (and, consequently, prompting us to believe that we must do anything – no matter how brutal – to prevent them from carrying out such plans, no matter how mistaken we might be)? And, in turn, if we understand the pointlessness behind the paranoic notions driving such misplaced perceptions, then why would we purposely seek to bring them into being?

It might be easy for many of us to summarily dismiss ideas like this. But what else would account for the manifestation of these conditions? Random chance? The aberrant acts of a capricious divine being? Mischievous demons getting their kicks? No matter how much we may try to deny it, though, the events unfolding here are driven by the individuals involved in them, beings whose consciousness is directly responsible for their emergence, for better or worse. But that once again brings us back to the key question, why?

As these circumstances reveal, beliefs are powerful tools that can be employed to yield an infinite range of outcomes. That, in turn, makes clear that we must be careful how we wield such power. We can certainly use it maliciously, as evidenced by the deplorable treatment inflicted on the refugees by the border guards and government officials and by opportunists who take advantage of their plight. Such outcomes can also be triggered by fear, a potent belief in itself, one that can drive us to irrational and unspeakable atrocities. No matter how these outcomes arise, causing harm like this is thus a questionable use of our power, even if we possess the ability to employ it in this fashion if we so choose. It would seem, then, that examples such as this implore us to use that power wisely.

Thankfully, our beliefs make alternative outcomes just as possible, as seen in the work of the activists and reformers. They embody the best of how belief power can be put to use. These efforts thus show that mankind is just as capable of creating good in the world as they are at fomenting mayhem.

Scenarios like this thus provide humanity with valuable opportunities for important life lessons. They show us how we can just as readily employ our beliefs to manifest positive outcomes as we can in creating negative results. In the process, they also provide us with significant opportunities for learning lessons related to concepts like choice and responsibility, important components in the mix of beliefs we formulate in materializing our existence. We can only hope that we make the right choices and willingly accept the responsibility that goes with them, no matter what creations we elect to ultimately manifest.

These circumstances also provide insights into other areas of the creative process. For instance, in deciding which choices we make, we have an opportunity to explore and develop our intuition, an important element in belief formation. That becomes apparent here, for example, in Julia’s case. After sitting on the sidelines for a prolonged period, she has a radical change of heart about her view of the Polish government’s handling of the refugees. What’s more, she adopts an approach that proves to be more radical than that of the activists. She seeks to go beyond their efforts and become a reformer, one who looks to implement more drastic measures for addressing the needs of escapees in dire peril. This also calls for her to employ unconventional practices when needed, as evidenced by her handling of a crisis in which she taps the unexpected (though valuable) assistance of a tow truck driver (Grzegorz Gromek) and one of her politically outspoken patients (Maciej Stuhr) to help resolve a particularly thorny crisis. Indeed, beliefs can accomplish a lot, especially when we make use of them in highly inventive ways.

These kinds of circumstances also show us how the power of our beliefs can be amplified when we pool our resources in acts of co-creation. As with any manifestation effort, this is true when we collaborate to put our belief power to use, in both positive and negative pursuits. The impact of this can be significant, no matter how the belief energy is combined and implemented, so this behooves us to choose carefully when determining how to put it to use collectively. That’s particularly important in a scenario like this in which the belief energies are simultaneously being diverted into opposing types of creations, conditions that can ultimately turn in either direction depending on where we choose to place our focus. In light of that, it’s thus important to remember that, as connected beings, we’re all a part of scenarios like this – and that we all have a stake in their eventual outcomes.

While watching “Green Border,” I was often shocked at what I saw playing out on screen, but, surprisingly, in both negative and positive ways. To be sure, the contrast between such opposites can be significant, but it’s heartening to know that, in the end, we each have the wherewithal to choose which path we wish to pursue. As much as I’d like to think I keep on top of world events, though, I must confess to having heard virtually nothing about the green border crisis before watching this film, so the story was quite eye-opening for me. However, as the story unfolded, I also couldn’t help but think about what impact the legacy of that crisis might have had on Poland’s response to the flood of Ukrainian refugees who began pouring across the border at the start of the war with Russia. Would the film address it? And, if so, what would it depict – a country that had learned its lesson from a prior crisis or the continuation of policies that produced more of the same? One can only hope that the trying circumstances of the green border crisis would provide the opportunity for a society to learn a valuable lesson when a new and even bigger challenge emerged.

This latest offering from acclaimed writer-director Agnieszka Holland sheds light on what happened during this turbulent situation, a troubling scenario that, unfortunately, despite some reforms, still continues to this day. In telling this story, the legendary filmmaker holds little back, openly acknowledging that she believed she had nothing to lose by doing so. Events are depicted with a clear sense of desperation, anger and outrage and a gritty realism that can make for a troubling watch at times (sensitive viewers take note). However, this release is an important and impactful film, one that draws attention to a crisis that deserves wider recognition in the international community. The picture’s carefully crafted narrative and insightful, superbly scripted screenplay provide an excellent, in-depth examination of the interactions among the various constituencies involved in this scenario. Its well-integrated combination of engaging, emotion-filled sequences and its captivating treatment of the principals’ diverse yet linked experiences are riveting, effectively holding viewing attention throughout, quite an achievement for a film with a 2:32:00 runtime. This accomplishment is largely made possible by this offering’s fine performances across the board, its well-executed pacing and its stunning black-and-white cinematography, attributes handily making this one of the most important and visually engrossing releases of 2024 and one of Holland’s career best works. “Green Border” truly should be on every cinephile’s must watch list for its hard-hitting impact and startling revelations, disclosures that anyone with a conscience should find impossible to ignore.

“Green Border” may not have staked a noteworthy reputation for itself as yet, but it certainly deserves whatever accolades it receives. The film has garnered considerable attention at film festivals, capturing multiple nominations and numerous awards. The picture was distributed in limited arthouse release over the summer, but, thankfully, it’s now available on home media and for streaming online. This one is really worth your time.

Given how we as a species like to think of ourselves as enlightened, civilized beings, it’s hard to fathom how we can still be caught up in scenarios like the green border crisis – sadly, one of many taking place around the globe these days. It would be comforting to think we’ve progressed beyond the insanity of such maddening conflicts. At the same time, though, there’s evidence here that we have at least given ourselves the opportunity to learn from our experiences and move on to a more progressively open-minded outlook. Let’s hope that’s one border we can eventually cross – and not look back.

A complete review is available by clicking here.

Blending Creativity, Belief and Passion

What makes us successful as creative beings? That’s a question that scholars, philosophers and artists have been asking rhetorically for eons. Much, of course, depends on the nature of the creation. A lot also depends on the traits and temperaments of the creators. But the actual mix of attributes necessary for achieving such fulfillment may ultimately be difficult to define – or, as the French might say, a certain je ne sais quoi (or, perhaps more accurately in this context, je ne sais pas). As elusive as making such a determination might sound, though, while it may indeed be challenging to put into words, it’s often relatively easy to spot. Individuals who have what it takes frequently stand out, and, even if their gift isn’t always readily apparent at first glance, it usually becomes obvious once they begin working their magic, as evidenced in the example set by the protagonist in the new historical drama, “Widow Clicquot” (web site, trailer).

At the age of 27, the life of French heiress Barbe Nicole Ponsardin Clicquot (1777-1866) (Haley Bennett) changed drastically. Having been born into, and then marrying into, wealth, the young wife and mother suddenly found herself ensconced in daunting circumstances that many thought she was incapable of handling. Mme. Clicquot became widowed when her husband, François (Tom Sturridge), died mysteriously (historians disagree on whether it was due to suicide, typhoid or the result of substance abuse). Upon his passing, she inherited his winery in the Champagne region of France. But that bequest came with some unexpected strings attached, adding burdens on top of the grief she was attempting to deal with.

As it turns out, the winery was in severe financial distress, primarily the result of failed vintages that François had been experimenting with before his death. The winemaker was known for his attempts at implementing inventive practices in his work, many of which were driven by untried techniques that stemmed from a quasi-philosophical standpoint, one that essentially sought to fuse the unlikely pairing of viticultural considerations and stream of consciousness thinking. As poetic as that approach may have sounded, though, it hadn’t really been employed before. Given Barbe’s deep love and respect for her husband, she was consequently quite enamored by his passion for his craft and his application of an almost-romantic methodology to the art of vinification. But, considering that his inventive practices were largely hypothetical in nature, there were no guarantees that they were going to succeed – which they ultimately did not. And the cost to the winery was extensive.

In light of the company’s financial position, many of Barbe’s closest associates believed that the wisest course she should follow was to sell the operation to Jean-Remy Moet (Nick Farrell), owner of the rival Moet organization, who was offering a good price to absorb his distressed competitor. But Barbe wouldn’t hear of it. She vowed to carry on from where her late husband left off. She believed that his theoretical ideas could be made to work when implemented in conjunction with the winemaking knowledge and business acumen that she possessed. But could she realistically pull this off?

Barbe faced stiff opposition from her father-in-law, Philippe (Ben Miles), who didn’t think she was capable of taking on such a task. He believed she lacked the necessary skills to run the business. And, if that weren’t bad enough, he surmised, there was also the fact that she was a woman. This view was backed up by Philippe’s trusted advisors (Paul Rhys, Ian Cunningham), who tried strongarming Barbe into accepting Moet’s offer. Nevertheless, she held firm in her conviction, steadfastly refusing to sell. But there was one catch in her plan: To carry on for the near term, she needed to borrow money from Philippe to keep the operation afloat, at least for the next year, a condition to which her skeptical father-in-law reluctantly agreed.

Even with Philippe’s influx of cash, Barbe still faced her share of financial challenges, such as figuring out creative ways for compensating the winery’s employees. And then more bad news from the company’s accountant, Edouard (Anson Boon), poured additional fuel onto the fire. But Edouard recognized Barbe’s gumption and saw that she possessed the business smarts to make things work. This was a view shared by Barbe’s distributor, Louis Bohne (Sam Riley), who could see that she possessed a nimble mind that could help her work around the obstacles that threatened to put the operation under.

At the time, however, Barbe had more on her mind than just helping the business survive. With her husband’s death, she now found herself a single parent to her young daughter, Clementine (Cecily Cleeve). As a young woman herself, Barbe also had to deal with being unattached in the prime of her life. Love was indeed an important component of her life and being, as evidenced in a series of flashbacks to the many intimate moments she spent with François, times that she came to miss terribly while on her own. But, ever the practical one, Barbe managed to devise the means for resolving these issues, too, leaving her free to devote her time to perfecting the winery’s product.

Just as it seemed she was about to turn a corner with the business, however, new challenges emerged, such as embargoes on sales of exported goods that were imposed on the French by foreign powers during the Napoleonic Era and the emperor’s reign of terror across Europe. What’s more, Barbe’s competitors sought to rein in her organization’s operations by asserting it engaged in illegal activities, practices that could harm the reputation (and future sales) of all of the wineries in the Champagne region. But, as one might guess, she successfully managed to address these questions as well. What a resourceful woman, to be sure.

As a result of her many triumphs, it’s no wonder that Barbe would come to be known as “the Grand Dame of Champagne” during her 50 years at the helm of the House of Veuve Clicquot. Her innovative techniques established her operation as one of the leading wineries in France, introducing practices still in use today. That’s quite a legacy, and quite a tribute, to someone who was once looked upon as being incapable of what she accomplished just by virtue of her gender, let alone a widow at that. But Barbe was confident in her beliefs and abilities – so much so that she incorporated her status as a widow (“Veuve” in French) in the company’s name. Now that’s moxie.

Even when the odds seem stacked against someone, there are those who are able to rise above them and succeed. That’s because they possess the right mix of qualities to make that happen, and Barbe Clicquot was one such individual. But, one might legitimately ask, what causes that mix to arise in the first place? And how is it that one person possesses such traits while someone else does not? Some might contend it’s a matter of random chance, but that seems like something of a cop out, especially when those who achieve such success often appear to have circumstances securely under their control. So what accounts for the difference?

In a case like the one presented in this film, it all comes down to a matter of one’s beliefs. Some may argue against that notion, given that beliefs are intangible, invisible concepts that seem unlikely to have an impact on the manifestations that materialize in our world. But how else can these outcomes be explained, especially when they seem to occur repeatedly for the same individuals experiencing them? Such is how our thoughts, beliefs and intents are responsible for the realization of our existence. And those who hold steadfastly to their beliefs – especially in the right combinations – are often able to successfully manifest what they seek to create. It’s hard to say how many of us are aware of – or have even heard of – this school of thought, but there are many who are adept at practicing it, even if they’re not consciously familiar with it. But, as seen by the example set by someone like Barbe Clicquot, it’s apparent that they know what they’re doing, at least on some level, and that they’re capable of using this knowledge to attain what they want.

The key in making this work is devising the right mix of beliefs and adhering to them once formulated. As becomes apparent, Mme. Clicquot has an inherent knack for vinification and believes in that expertise. The same can be said for her astute business knowledge. And, in both cases, she proves to be adept at reversing the misfortunes that arose. Given her strident self-confidence in these areas, combined with her underlying passion for them (in itself yet another form of belief), she thus possessed the rudiments of what was needed to run a winery and make it prosper as a going concern.

Some might say that François had some of these attributes, too, but he ultimately failed in his efforts, results that naturally beg the question, “Why?” That’s a difficult question to answer, but, as the film’s flashback sequences illustrate, he appears to have lacked certain belief-based traits needed for success – traits that, by contrast, Barbe possessed. In particular, these are her beliefs associated with self-reliance, determination, focus, discipline and faith in her abilities. From the flashbacks, it becomes apparent that, despite his innate creativity and passion for his craft, François lacked these attributes, more than likely because he hadn’t put in place the beliefs necessary to bring about the outcomes Barbe realized. And this is what ultimately distinguished her from her husband – and what enabled her to prosper where François failed.

The foregoing strengths notwithstanding, Barbe didn’t possess everything she required, but she was astute enough to recognize when ask for help – and to draw such aid to her as needed. For instance, when she needed financial assistance, she was able to obtain it from Philippe (his doubts about her business acumen aside). And, when she needed help with distribution, she was able to rely on Louis to find markets for her product. Her belief in her ability to attract the necessary resources thus kept the operation afloat under circumstances where others might have failed.

Of course, with all of this going for her, one might also wonder why she also manifested so many challenges around her. The severity of these conditions might have easily doomed her or others less skilled in these practices. However, it could be argued that these hindrances actually helped to galvanize her in her ambitions, keeping her focused on her goals and prompting her to never lose sight of what was required for success. In fact, her accomplishments enabled her to make quite a name for herself. When the Napoleonic siege of Europe ended, for example, foreign dignitaries looking to celebrate their victory specifically sought to do so with Veuve Clicquot champagne, despite it being a commodity produced by a former enemy. What’s more, Barbe also proved that a business didn’t have to be run by a man in order to thrive, disproving the fears of all the sexists of her day.

In many ways, Barbe’s story is one of someone who was made for success. And that outcome arose as a result of self-made (or self-manifested) efforts. We’re each capable of accomplishing great things when we believe in ourselves and create the right conditions to make that happen. And, if that’s not worth drinking a toast to, I don’t know what is.

Combining all of the elements that go into making a fine film, and blending the various ingredients in just the right proportions to achieve that, is akin to the practice of crafting a fine wine – and quite an irony here given the subject matter of this engaging cinematic biography. Director Thomas Napper’s latest chronicles the Widow Clicquot’s diligent efforts to fulfill her ambitious initiatives to live up to the dreams of her late husband. The picture’s superbly structured narrative and screenplay, combined with exquisite period piece production values and excellent performances (particularly Bennett in one of her best on-screen portrayals), make for an involving, multifaceted watch.  Admittedly, there are times in the second half where the story meanders somewhat, and some may find that this release gets a little too detailed when discussing the technical particulars of winemaking. However, much of this offering is evenly balanced, effectively holding viewer interest about a subject that’s not especially common in the annals of filmmaking. What’s more, though, on a more philosophical level, this release celebrates the inherent joy and passion involved in the act of creating, ideas applicable to the manifestation of any artform, be it wine or painting or whatever else we’re capable of envisioning and bringing into being, praiseworthy achievements in which we can all take pride . The film is available for streaming online.

Champagne is a symbol synonymous with the celebration of accomplishments, and, if ever there were anyone deserving of enjoying the laurels associated with it, it would be Mme. Clicquot. She defied the low expectations that had been unfairly thrust upon her, enabling her to rise to the occasion when the opportunity presented itself. She not only lived up to the potential that she knew she possessed, but she also set an example for others to follow – those of us who have dared to believe in ourselves and live up to the capabilities that we know reside within us. That’s something truly worth celebrating, a chance to sparkle as much as the vintage that epitomizes such festivities. Indeed, let’s hear it for us – and proudly raise a glass to ourselves.

A complete review is available by clicking here.

Copyright © 2024, by Brent Marchant. All rights reserved.