I loved some of the descriptors of the restaurants, the boozing, the flirting and music – all of the bohemian get-togethers and parties. I liked reading about the meetings with Gertrude Stein and Erza Pound. Once they married and moved to Paris, things slowly, very slowly, started unraveling for them. As you read about the budding romance and his constant letters to Hadley, you could almost forget that this marriage was destined to fail. He was interesting, energetic, creative and had a determination to be a force in the literary world which was a force of its own. Meeting Hemingway during a visit to Chicago was clearly the beginnings of a new life for Hadley. The beginning of this book outlines Hadley’s early life and the tragedies of her illness, her father taking his life and her mother trying to control her. That was where I started to lose a bit of interest. Knowing that Hadley was not his only wife (he had four) there was, of course, the expectation of reading about their marriage dissolving. There was a point where I almost bailed on the book but I am glad I didn’t. The way Starke compliments her mothers performance hammers home the personal betrayal at the heart of the film.This historical- part fictionalized novel about Ernest Hemingway and his first wife Hadley Richardson had been on my to-read list for some time.
Bonus bonus points for having Annie Starke, Close's real-life daughter, beautifully portray the younger version of Close's Joan. The Wife may look like your typical stuffy, Oscar drama fueled solely by the performances of its illustrious lead and while it most definitely is all of those things it also turns out to be much more than this a searing portrait of intimacy and how as much between two people can be both the most familiar and painful thing in ones life.īonus points for good turns from Christian Slater and Max Irons. The Wife is one of those movies you'll want to watch again as soon as you finish it the first time if not for how intense or fascinating it is, but for the delicately layered elements of perception versus reality that both Glenn Close and Jonathan Pryce convey over the course of it. "There's nothing more dangerous than a writer whose feelings have been hurt."
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