‘The Beguiled’ views the Civil War through female eyes Kidman and Coppola

By LINDSEY BAHR

AP Film Writer

LOS ANGELES

The intersection of Sofia Coppola and Nicole Kidman didn’t start with “The Beguiled.”

They’d met at parties in passing and had even tried to work together once on a project that fell apart. Coppola loved Kidman’s wicked humor and Kidman loved Coppola’s cinematic style and vision. So Kidman didn’t hesitate to say yes when Coppola asked her to play the part of Miss Martha, the headmistress of a girls’ school in the Civil War-era South that’s thrown into disarray when they decide to take in a wounded Union soldier, in her retelling of “The Beguiled.”

In fact, the two share more than might meet the eye — both are married to touring musicians, both have daughters around the same age and both have been having an incredible year professionally. Coppola became the first woman in 56 years to win best director at the Cannes Film Festival, and Kidman is enjoying widespread praise of both her film and television work.

The two women gathered recently in Los Angeles to discuss their film, which opens today at Shenango Valley Cinema in Hermitage, Pa., the awkwardness of directing a sponge bath, and the reinvigorated support of women in Hollywood.

The remarks have been edited for clarity and brevity.

Q. Is it a good time for women in Hollywood?

COPPOLA: I think right now I feel like there’s a lot of talk about it with “Wonder Woman” being a big success, that’s really exciting, and with our movie getting attention — it’s a female cast, a female story.

KIDMAN: And that it’s seen from the female perspective. I mean, this is very much from the vision of Sof, so that you see the film in terms how the women view it — the female gaze and not some ... It is important. There’s a shift and there’s definitely some change happening. Is it enough? No. But you know we’re all doing what we can, and we’re fortunate to have the opportunities.

Q. Miss Martha’s sponge bath of Colin Farrell’s character could have easily taken a different tone with a different director.

KIDMAN: I love how demure it is. Well, it’s like it could have been much more. I just like how it’s very real.

COPPOLA: It could have gotten really over the top. But I love that we really focus in on you taking in his body. She hasn’t been around a man in so long. I think I was the most embarrassed shooting that scene. I’m sitting off camera and I was like, “Nicole, now can you wash his inner thigh?”

KIDMAN: And I’m staying completely in character. Colin is out, but not really.

Q. There seems to be symmetry between this film and “Big Little Lies.”

COPPOLA: When I saw the ending of “Big Little Lies” I thought there was a similar solidarity ... I think that is sweet how the women protect each other. And I think that is something about women. Don’t you find that with your friends?

KIDMAN: Definitely. They always say there’s a men’s club but there is definitely a woman’s club in terms of the secrets that are held and the way in which we interact. Particularly when you get older, I think your female friends become more and more — I mean, obviously we live longer!

Q. Do you feel like there’s a culture-wide re-evaluation and newfound appreciation of women like you who have been doing incredible work in Hollywood for years?

KIDMAN: I feel a warmth. I don’t know if that’s the time we’re in or a need for it, but there’s definitely, instead of tearing you down there’s more encouragement and support. I don’t know if that’s real or if I’m just sensing it, but it’s a lovely thing to be a recipient of and to be able to offer it as well.

COPPOLA: There’s more openness to our stories.