Had wanted to see 'The Wife' for a long time. The premise was just fascinating, even if not novel, and it is difficult to go wrong with Stockholm as the setting and a cast that has Glenn Close, Jonathan Pryce and Christian Slater in it. But being behind with film and television watching, health problems and music commitments meant that it took a long time in getting round to watching it, will be honest too in being even more desperate in seeing other films and programmes.

Finally saw 'The Wife' two nights ago, after a period of illness. Some of it made worse by the worry of being amongst other things, a target of on and off excessive down-voting review abuse, with a huge number of my reviews each time being down-voted inexplicably and suspiciously in a ridiculously short period of time by somebody who either hasn't got the message to leave me alone or doesn't care about not making me more ill. And, on a more relevant note, mostly was impressed but also a little disappointed. A huge amount is done right, the premise is far from squandered and it is much more than an Oscar-bait character study (and isn't that really at all). There are a few things though that bring it down and part of me did feel that it could have done even more with its potential, it's all there but just not fully cooked all the way through.

Will start with what could have been done better somewhat. The truth behind everything to do with the literature was not surprising to me at all, saw 'The Wife' without reading any plot summaries and deliberately only read reviews that didn't give away any plot points and the twist to me was pretty easy to figure out even then. It wasn't done badly at all, it just could have been less obvious and revealed later but this is down to personal taste.

Also found some of the sound and music on the intrusive and bland side and that it belonged better in a television series, except in need of subtler orchestration and being used more appropriately. With a few exceptions, too many of the supporting characters are underwritten and under-characterised. Max Irons for instance is third billed here but his role is pretty small, he doesn't have an awful lot of presence in it and the character is written as too much of an idiot.

On the other hand, there is an awful lot to recommend. It looks great, a lot of the photography looking stunning with a lot of atmosphere and sweeping aerial shots. Taking full advantage of Sweden's capital Stockholm and clearly in love with it. The flashbacks are well contrasted, with beautifully done period detail. Bjorn Runge directs with control and precision, even if it is not exceptional as such.

'The Wife' is a thoughtfully and smartly written film, Joan's loyalty movingly depicted. The film is rich in dialogue but doesn't feel too talky. The story keeps one intrigued and entertained, with its fair share of emotional impact, especially with Joan's personal dilemmas, and at times suspense. The back and forth between past and present doesn't confuse or jar. There are some good supporting performances, with Christian Slater having fun as a slimeball and Annie Starke (Glenn Close's real life daughter and one can see the resemblance in the face, don't you think?) is touching as younger Joan. Elizabeth McGovern's performance is too brief but she is one of the few brief appearances to actually be memorable.

It is the two leads that carry 'The Wife', and carry they do splendidly. Their chemistry is witty, tense and poignant, and the personality contrasts of the two characters are contrasted well. Jonathan Pryce has the challenging task of not making Joe too much of an unsubtle cartoon with traits that are enough to make one dislike him intensely, but personally did not find Pryce heavy-handed and there is enough to his character that shows that his love for Joan is genuine. Best of all though is Glenn Close, almost the whole show and she is absolutely mesmerising in easily one of that year's best performances.

Concluding, impressive but slightly disappointing as well. A very strong 7/10

Joan (Glenn Close) and Joe Castleman (Jonathan Pryce) get an early morning call. Joe has won The Nobel Prize for Literature. They head off to Stockholm with their adult son David (Max Irons). David is a bitter struggling writer himself. He seeks Joe's approval but gets little more than criticisms. Biographer Nathanial Bone (Christian Slater) is intent on pursuing the sleazier elements like Joe's infidelities and he uncovers Joan's own early writing. In flashbacks, David may be much closer to Joe than he thinks. Younger Joseph is a second rate college professor and Joan is his star pupil. Joseph would struggle to publish his first story while Joan delivers amazing writing assignments. She would support him in every which way.

The acting is all exceptional except for David's outburst. I feel like it's melodramatic to raise the tension but it becomes so melodramatic that it rings false. In one sense, he hasn't earned it. His mother has earned it and that's why her scenes are powerful. David's character has other issues. I'd eliminate Bone and give the investigation to David. His writing allows him into the story. The moment where he blows up and leaves the limo is the moment I thought he should get help from his mother. With her helping him, he could eventually figure it out. I would hope that his moment of discovery would be more compelling and more nuanced than his melodrama. The other issue is the flashbacks. They reveal too much so that when Bone makes his accusation, there is some repeating. The audience is constantly discovering the same plot points twice. I can see a much tighter and a much more compelling sequence of events with this story. On the other hand, I cannot imagine seeing more compelling acting from the two veterans.

This is the story of a life nearly lost. Glen Close plays the wife of a conceited, arrogant, womanizing writer who is sent to Stockholm to receive the Nobel Prize for Literature. As it turns out, she has been at his side come hell or high water through all his misadventures. She is also the one who holds him up when he doesn't deserve it. The family, particularly the son, has been abused by this man, belittled and embattled. But there is a secret that we will eventually find out. Both the leads do a magnificent job portraying their characters with aplomb. I would certainly consider Close a candidate for an Oscar, although I haven't seen a lot of strong female performers this year.