The Wife

The Wife

2018, R, 100 min. Directed by Björn Runge. Starring Glenn Close, Jonathan Pryce, Max Irons, Christian Slater.

REVIEWED By Kimberley Jones, Fri., Sept. 7, 2018

“I’d like to thank my wife.” That’s the standard refrain of so many Great Men standing at podiums delivering acceptance speeches. Joe Castleman (Pryce), newly minted winner of the Nobel Prize for Literature, thanks his wife, his “muse” Joan (Close). She can hardly conceal her disgust.

Joe and Joan have had a long and seemingly happy marriage, even with his occasional infidelities and her having to sideline her own writing ambitions to support him. The bulk of the film is set in 1992, when Joe and Joan and their son (Irons) go to Stockholm to pick up the prize. You can tell it’s 1992 because when somebody says “Clinton” they mean Bill; also, smoking in bars is still allowed. More importantly, if you do the math backward from 1992, to when Joe and Joanie first meet – the strait-laced Fifties, in a student-teacher setup that bakes power imbalance and gender expectations into their very foundation – her sacrifices start to make more sense. (The couple is played in flashback by Harry Lloyd and Annie Starke, Close’s daughter.) Indeed, Jane Anderson’s script does a better job selling a plot reveal that was plausible, certainly, but demanded followup questions in Meg Wolitzer’s otherwise very fine (and funny) source novel from 2003.

What is lost in translation from Wolitzer’s novel is her particular vision of Joe – short, Brooklyn-born, Jewish – and her sidelong portrait of midcentury men of letters like Bellow and Roth. The Welsh-born Pryce makes a halfhearted swipe at mimicking an Outer Boroughs accent; he’s better at capturing Joe’s gluttony and overgrown-child sulks. Close – straight-backed, regal, all indulging half-smiles – is playing the adult here, and it’s a masterful performance. Fitting right in with icy Sweden, her Joan is the picture of perfect composure, right up until the moment her adoring husband tenders his thanks. Close unleashes a biblical rage, and it is awesomely entertaining to behold.

A note to readers: Bold and uncensored, The Austin Chronicle has been Austin’s independent news source for almost 40 years, expressing the community’s political and environmental concerns and supporting its active cultural scene. Now more than ever, we need your support to continue supplying Austin with independent, free press. If real news is important to you, please consider making a donation of $5, $10 or whatever you can afford, to help keep our journalism on stands.

Support the Chronicle  

More Glenn Close Films
Hillbilly Elegy
Redneck rehab drama is better intentioned but more tone-deaf than the book

Richard Whittaker, Nov. 20, 2020

Father Figures
On a road to nowhere with Ed Helms and Owen Wilson

Richard Whittaker, Dec. 29, 2017

More by Kimberley Jones
We Have an Issue: The Revolution Will Be Embroidered
We Have an Issue: The Revolution Will Be Embroidered
In this week’s cover story, Jessi Cape explores the resistance potential in cross stitch

April 9, 2021

30 New Shows, Returning Series, and Other TV Premieres This April
30 New Shows, Returning Series, and Other TV Premieres This April
Top Chef, crazy love, and sweet potters

April 1, 2021


The Wife, Björn Runge, Glenn Close, Jonathan Pryce, Max Irons, Christian Slater

One click gets you all the newsletters listed below

Breaking news, arts coverage, and daily events

Can't keep up with happenings around town? We can help.

Austin's queerest news and events

New recipes and food news delivered Mondays

Eric Goodman's Austin FC column, other soccer news

Information is power. Support the free press, so we can support Austin.   Support the Chronicle