The good wife: a school comedy [Critique]

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The good wife
Memento Films

Binoche as director of a household institution soon threatened by the wind of the social revolution …

The good wife, in theaters on March 11, 2020, was a great success in theaters despite the first confinement and the closure of cinemas, making up for it throughout last summer. It will be broadcast tonight in encrypted, on Canal +. Here is the review of First.

Since Juliet’s Belly (2003), Martin Provost does not deviate from his line by showing women confronted with violence (social, artistic, masculine) and their slow path towards emancipation. With Wise Woman, his previous film, he changed tone: make way for fantasy. The Good Wife confirms this new inclination. He entrusts Juliette Binoche with the role of Paulette Van Der Beck, a housewife school principal responsible for preparing young girls for their job as a housewife, submissive and smiling. Only, here we are, we are in 1968. Manners have evolved, the school is less successful, the spirit yé-yé is in the hearts and the heads … When her husband dies suddenly and thanks to a reunion with a youthful sweetheart, Paulette Van Der Beck tells herself that she may have missed something. And Martin Provost cheerfully put on the clichés in this programmatic feminist comedy where the pretty fifty-something swaps suits for jeans, where the old maid-sister-in-law begins to dream of Prince Charming and where the poop nun ends up swallowing her old school conservatism. We think a lot about Potiche, less irony and wickedness. There remains the rhythm given by the staging and by the energy of Juliette Binoche who confirms her under-exploited talent for comedy. It carries in its wake the poetic Yolande Moreau and the whimsical Noémie Lvovsky, their slaughter relegating to the background the characters of young girls, somewhat artificial counterpoints.

Trailer of The Good Wife :

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