THE PRESIDENT’S WIFE/ BERNADETTE. France, 2023. Catherine Deneuve, Denis Podalydes, Michel Vuillermoz, Sarah Giraudeau, Laurent Stocker, Maud Wyler. Directed by Lea Domenach. 93 minutes, colour.
A comedy with serious political undertones. And the question is: do audiences outside France know enough about the presidency of Jacques Chirac in the 1990s and early 2000s, the career of his wife, Bernadette, and her influence? It will be interesting to read the reviews to gauge how much is fact, how much is exaggeration, how much is comedy and how much is serious.
And, of course, to find out whether French audiences like the film or not, depending on their particular political perspectives. In reassessing Chirac’s presidency, the influence of the far right and Le Pen 20 years ago, the ins and outs of French politics and the similarities with the pre-Olympics 2024 elections.
The opening of the film is something of an eye and ear delight, a mixed choir, in robes, chanting with polyphony, initial information about who Bernadette was, her family lineage, her political career, her marriage to the future president, her determination, the place of women in French politics in the 20th century, and her husband’s infidelities.
And who better to portray Bernadette Chirac than the doyenne of French actresses, Catherine Deneuve. With a brilliant career, including headlining film credits for 60 years, Bernadette was released as she turned 80. At various stages, Deneuve was the image symbol of France, Marianne.
She gives a commanding performance as Bernadette even though so often she is at the command, the phone beck and call of her ambitious husband. She has had something of a local political career, her husband is a political male chauvinist, becoming increasingly alarmed at her upfront presence in his campaigns, in her social work, establishing a hospital, television appearances, music and sports stars eager to support her charities.
The portrait of Jacques Chirac in this film is exceedingly one-dimensional, preoccupied with power, upset at his wife’s increasing public presence, something of the moving equivalent of newspaper cartoons. And, in many ways, that is how his supporters are presented – the exception being Nicholas Sarkozy and his moves against Chirac but who was in line to succeed him.
One of the interesting characters, but also one-dimensional, is the Chiracs’ daughter, Claude, 110% committed to her father’s political career, rather humourless, single-minded, critical of her mother and also trying to control her, but with a mentor – Bernard Niquet (Podylades). Niquet is the other multi-dimensional character in the film – a touch pedantic, politically shrewd, public relations savvy, becoming a good friend and supporter of Bernadette.
The film is comparatively brief, indicates the timeline with continued jumps of several years from 1995 to the mid-2000s.
Whether an audience outside France would be eager to see the film is a question. The obvious attraction is Catherine Deneuve. It may well be interesting to make political comparisons with campaigns of other countries (it is the era of Clinton at first, with a visit from Hillary Clinton to France – but there is no mention of George Bush). Entertaining in its way but comparatively slight.
Madman
Released 1 August