Like “The Wife,” “The Chaperone” takes its title from a reductive role women have been branded with throughout the generations, limiting the growth of their identity so that it may be defined by their caregiver status. I have no doubt Brooks would’ve been equally baffled by Glenn Close’s titular heroine in Björn Runge’s “The Wife,” who chooses to live in her husband’s shadow, despite her formidable talents.Ĭlose’s character was dissuaded from seeking stardom by none other than McGovern, playing an embittered novelist who stops the show with her one big scene, claiming that women’s voices are ignored by publishers and the public alike (“A writer’s gotta be read, honey,” she sighs). During one of her earliest interactions with Norma Carlisle (McGovern), the Wichita housewife who volunteers to accompany her on a pivotal cross-country trip circa 1922, Brooks ridicules The Age of Innocence for romanticizing its protagonist’s choice to remain in quiet desperation rather than pursue his dreams. Adapted by Julian Fellowes from the bestselling book by Laura Moriarty, this handsomely mounted production initially resembles the sort of sentimentalized historical fiction that would’ve likely tested the patience of its own real-life heroine, silent screen icon Louise Brooks (Richardson). With these two top-drawer talents anchoring Michael Engler’s “The Chaperone,” one expects the picture to be terrific, and for the majority of its running time, it does not disappoint. The lingering look she gives her visibly hurt date during their tense car ride home is a classic example of how intricately nuanced silence can speak more volumes than limitless reams of prose ever could. When Jeannie’s earnest heart-to-heart with Conrad is disrupted by a raucous gang of jocks, her first impulse is not to jeer at them with idealized heroism, but to laugh in embarrassment, a far more human and painfully relatable response. Despite McGovern’s limited screen time, she and Richardson proved equally deft at ensuring that their characters emerged as fully realized beings rather than mere sounding boards for their male co-stars.
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