This gentle drama about life’s beginnings and its end features two lead performances that are anything but quiet. “The Midwife” marks the first time that two grand dames of French cinema – Catherine Deneuve and Catherine Frot – appear together, and the pairing doesn’t disappoint. Little happens in the way of plot, but these performances and the script from director Martin Provost let these characters breathe and bloom in a way that feels special.
The literal translation of the original title (and the word “midwife”) is “wise woman,” and Claire (Frot) is full of sense and rationality in her role on a labor and delivery ward. She’s nurturing, fierce and great at her job, though her clinic is in danger of closing. At home, she’s often cautious and reserved, but her life is thrown into upheaval when her college-age son Simon (Quentin Dolmaire) begins to spend more time with his girlfriend, Lucie (Pauline Parigot). She also isn’t sure how to respond when her father’s former mistress Béatrice (Deneuve) reappears. Béatrice is wild and outspoken, a counterpoint to the cool characters the actress often plays, as well as Claire. She has reached out to Claire because she has a brain tumor, and has no one else in her life.
“The Midwife” enjoys contrasting the personalities of Claire and Béatrice, showing us their differences and how they begin to rub off on one another in such close proximity as their unlikely friendship develops. There’s real growth in each of them, but Claire’s evolution is a particular joy to watch. Her interactions with Paul (Olivier Gourmet), a man she meets while gardening, are especially intriguing and reveal both who she is at the film’s beginning and who she is at its conclusion.
Though Claire’s relationship with Paul is a subplot, the emphasis here is on the friendship of the two women. Their connection – and the film, by extension – is filled with warmth, depth and complexity. It’s rare to see a movie that focuses on two women in the second half of their lives, with men existing only as secondary characters. “The Midwife” is also remarkably frank in its approach to labor and motherhood. Birth scenes feel authentic, and that authenticity is earned: Provost filmed scenes during real deliveries. That dedication to reality is felt and appreciated by the audience.
“The Midwife” is a subtle, languid film, reminiscent of last year’s gem “Things to Come.” Some viewers may find the drama too slow, but they’ll miss out on its rewards. It relishes the moments of solitude for Claire and Béatrice, but it really comes alive when it watches the two of them interact with each other and those around them. Frot has been wonderful in recent films such as “Marguerite” and “Haute Cuisine,” but this is the best role for the legendary Deneuve since at least 2008’s “A Christmas Tale.” Both actresses are allowed to shine in parts that are layered and far more than simply “mother” or “mistress.”
For a film that hinges upon a character’s brain tumor, there’s also delight here. “The Midwife” is often unexpectedly funny and sweet. The film is more a celebration of life and its pleasures, big and small, rather than dwelling on death. Other directors might have given the film an autumnal tone to reflect the period of Béatrice’s life, but everything is green and vibrant here, adding a sunniness to the drama. [A-]