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He has everything planned out, including where his glasses are, when it’s time to take his medications, and what he should eat for lunch. After more than three decades of marriage, the wife anticipates her husband’s needs and meets them before he even realizes he has them—and certainly long before she would ever consider tending to any of her own needs in the first place.
Despite the fact that they have two children and a grandchild on the way, they have managed to keep their marriage humming along despite infidelity, despite the husband’s spectacular and longstanding literary success, and even through his most recent and greatest achievement: winning the Nobel Prize.
The couple should take pleasure in this moment, as it will give them the opportunity to take a step back and reflect on the life they’ve built together. Instead, it becomes an opportunity for the wife to confront some uncomfortable, deeply suppressed truths about her husband’s behavior.
In “The Wife,” the process of achieving clarity is riveting to watch over the course of a couple of days, and it is a highlight of the film. Even in a subtle way, Glenn Close’s performance as the title character is devastating, as she conveys years of suppressed feelings and bitterness with the smallest wry smile or withering glance. When it comes to their chemistry, Glenn Close and Jonathan Pryce are unstoppable. The two veteran actors enjoy exchanging witty banter as well as enduring bloody battles. Nevertheless, whereas Pryce’s character remains consistent in his narcissism and dependence, Close’s character undergoes a subtle but profound transformation from self-deprecating spouse to a fiery force of nature. Those jaw-dropping, scenery-chewing scenes that Close is famous for taking advantage of take a long time to emerge, and when they do, they are absolute knockouts. Watching the gradual build-up to her character’s epiphanies, on the other hand, provides a different kind of enjoyment.
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Perhaps Björn Runge’s approach is straightforward and workmanlike in order to give these illustrious actors the opportunity to swagger and shine, but a little more imagination and artistry wouldn’t have gone amiss in this case. (“The Wife” is also a distractingly bright, flat color scheme.) As a result, Runge, working from a screenplay by Jane Anderson, which is based on a novel by Meg Wolitzer, jumps back into the past here and there to provide context for the relationship that we see at the beginning of the film.
It’s 1992 in the affluent coastal town of Connecticut. Joseph Castleman, played by Pryce, is awake in the middle of the night, unable to sleep due to nervous anticipation that he might receive the call from Stockholm that he’s been waiting for all day. When the call finally comes, with the exhilarating news that he has been awarded the Nobel Prize for literature this year, his first instinct is to have his wife, Joan, join them on the phone from a different line. She is there to support him, as she has always been, as we will learn in vivid and increasingly dramatic detail in the following chapters.
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During a celebration at the couple’s expansive home, they reveal even more nuances about their relationship. A tray of champagne flutes is being passed around to Joe’s accomplished and adoring guests, and Joan is holding the tray full of glasses to serve them. David (Max Irons), their grown son and aspiring writer who has been inspired by years of bitterness toward his brilliant father, is quick to point out the discrepancy between the two men.
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In his role as the sly, would-be biographer attempting to insinuate himself into this momentous occasion, Christian Slater expresses his dissatisfaction with the way the public perceives his wife. Joan, on the other hand, is reticent to claim any of the credit, despite the fact that she always looks and says the right thing. In fact, she doesn’t want the greatest American writer of his generation to express his gratitude to her on the international stage.
When Joe is pondering what to say in his acceptance speech, she tells him, “I don’t want to be known as the long-suffering wife.” Once they arrive in Stockholm, she also expresses a reluctance to participate in the shopping excursions and beauty treatments that are provided to the Nobel Prize winners’ spouses – who are all wives, by the way. It’s impossible not to laugh when awkward interactions occur between the best of the best in their respective fields, and the numerous over-the-top displays of adulation add to the absurdity of this privileged setting. Despite this, as Joan’s dissatisfaction grows, there is a simmering undercurrent of unease.
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In flashbacks to 1958, Joan (Annie Starke, who has a cadence and mannerisms that are eerily similar to Close’s) was a bright student with great promise, and Joe (Harry Lloyd) was her charismatic professor – who also had a wife and an infant daughter at home – we see the roots of that independent streak. Although she is silently listening and taking it all in, we can still see her internal analysis being reflected only in the most subtle and tantalizing ways.
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“The Wife” gets juicier and juicier as Joan finally gives voice to everything she’s seen and done, as well as secrets she’s kept hidden for far too long, in the final act. As soon as she does, she will be able to allow herself to come into her own—and the look on Close’s finely detailed face at the conclusion suggests that she is ready to do so with a vengeance and on her own terms. It’s a triumphant moment that isn’t overstated.
For more personality quizzes check this: Traffik Quiz.
