The Wife

Glenn Close was superb in this film. A first class display of nuanced virtuosity as her restrained portrayal of the eponymous wife had her emotions simmering just under the surface and threatening to implode her throughout the film. But it was all only until in the final act where it finally erupted out. Not in a volcanic, Vesuivian sort of way, but in a controlled, yet still fiercely fiery, explosion of emotions that ran the gamut. The film's narrative itself was interesting, albeit predictable, and quite probably problematic in this day of #MeToo and #TimesUp. Nonetheless, it really was Close's remarkable performance that held this film up. Jonathan Pryce too deserved some praise for being the actor that allowed Close to spar and shine, and he was good in his own right, just that he gets eclipsed here (the irony!).

Directed by Swedish director Bjorn Rung and adapted for film by Jane Anderson (off Meg Wolitzer's book), the film ran for a tight 100 minutes and it effectively illustrated the feelings of Close's character which really did became clearer on hindsight. Little moments and acts throughout the first two acts which seemed trivial and unimportant, actually served to underscore The Wife's emotional turmoil and struggle, and coupled with Close's nuanced performance, it all did mean something; perhaps a second viewing may truly highlight Close's superb portrayal.

However, there were moments in the show whereby it all seemed too heavy-handed and obvious, especially when in contrast with such a brilliant, understated character-study of the main character. Case in point, Max Iron's son and Christian Slater's un-authorised biographer. Both these two characters lacked depth and existed seemingly to drive the narrative forward.

The backbone premise of the film could have been delivered more effectively with more subtlety or even via a different medium, a play perhaps. I would pay to watch Close and Pryce pitted against each other, live on stage as they struggle with recognition, fame, love, duty, respect and pride.

Although the one other thing that the film makers got really right, was the portrayal of the relationship between the central couple. A long-standing marriage that had obviously suffered multiple bumps, but yet there was genuine love between both parties that fueled their fights and conflicts. And, again, for that both Close and Pryce deserved praise.

This film will unlikely to get much love come Oscar time. It is too small and too topical for this time, but Close might surely get nominated. If not for an Oscar, at least a SAG and a Golden Globe.