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Michelle Williams stars as a bourgeois Frenchwoman who falls in love with a Nazi officer (Matthias Schoenaerts) during the Occupation in the long-awaited but soapy and numbingly flat Suite Francaise. Based on the second part of Holocaust victim Irene Nemirovsky's unfinished novel, which became an acclaimed worldwide bestseller in 2004, this filleting by writer-director Saul Dibb (The Duchess, TV series The Line of Beauty), co-written by Matt Charman and completed in 2014, has sturdy production values, a tony cast and middlebrow tastefulness up the wazoo, but barely any soul, bite or genuine passion.

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Fans of the book will feel frustrated that the adaptation has shed so much from the source material to concentrate on its most melodramatic plot line, while newcomers unaware of the literary pedigree and the book's fascinating backstory will wonder what all the fuss is about. Still, if marketing and publicity can manage to reach right kind of upmarket viewers, this could perform respectably after its release in the U.K. on March 13. No date has yet been set for US release by the Weinstein Company.

Grandiose claims have been made for Nemirovsky's last work, which has ambition, historical significance, some very moving passages and a lively prose style. Had it been finished, it may have been a great literary achievement. But what survived is a work-in-progress that was only partially complete when Nemirovsky, a Jew, was arrested in 1942 and taken away to Auschwitz, where she died. The manuscript, kept by her children, remained unread for 60 years. Her journal revealed plans to revise storylines, and even as the closing credits of the film unfurl against pages from the original manuscript, it’s clear from the annotations that this was only a first draft.

It’s worth stressing that this book is ultimately a poignant fragment because that moving backstory is one of the integral rea