Colette and Willie's relationship is such a good drama. Of course, this is not only about their age difference of 14 years, their open marriage, and their fragrant experience of having an affair with a woman at the same time, but also the love-hate entanglement in which they complement each other and hurt each other. Colette's talent, courage, temperament and luck are of course the foundation of her success, but the experience and knowledge that Willie brought her and the cultivation and edification of her should not be underestimated. They are clearly in love, but this love is also mixed with wealth and exploitation. But then again, where is pure love? What is love again?
In addition to the main line of their relationship, the film also shows the glitz of Belle Époque Paris, such as the invention of the electric light bulb, and Colette's kiss on stage with a transgender (actually a transvestite, because there was no gender reassignment surgery) in the Moulin Rouge Wait. However, the events of the characters are still a bit rushed, and I feel that after the "Claudine" series is a big hit, it can't keep up with the director's rhythm. The film ends when Colette leaves Wiley and publishes his first solo novel. In fact, the years after her were equally wonderful: stage tours, two marriages, creative peaks, World War II, writing "Gigi", discovering Hepburn, until her death at the age of 81 and being buried in France.
Richard Glatzer, husband and work partner of the film's director, Wash Westmoreland, passed away before production began. It is said that Richard first proposed Colette's shooting plan, so he is also listed as one of the screenwriters. This film is also dedicated to him.
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