Chevalier (B or 3/4 stars)
'Chevalier' (directed by Stephen Williams & written by Stefani Robinson) is based on the incredible true - and little known - story of 18th century French black composer, Joseph Bologne. This film begins with a truly dazzling scene in which Joseph Bologne interrupts a performance from arrogant Wolfgang Amadeus Mozart; besting him musically in the process. It is a SCINTILLATING opener which signaled to me that we were in for an incredible film to come -- not so much, but more on that later. The film flashes back to Bologne's childhood. Born in Guadalupe as the son of a Black slave & a white plantation owner, Joseph is left off at a fancy French school as a child, given one pivotal piece of advice by his father: "Always be excellent".
Taking that advice to heart, he hones his violin skills and also masters fencing. As a young adult and, given the racism present at that time & place, he struggles to establish himself. A curious friendship with enigmatic Queen Marie Antoinette (Lucy Boynton) leads to her giving him the professional name: Chevalier de Saint-Georges. When a position to lead the Paris Opera arises, Chevalier & presumed contender, Christoph Gluck (Henry Lloyd-Hughes), each compose an original opera; and judges will determine who gets the job. To star in his own opera, he wants the talented & beautiful Marie-Josephine (Samara Weaving), not egotistical La Guimard (Minnie Driver, giving us another round of Carlotta from The Phantom of the Opera). Casting Marie-Josephine has its road block, though, in the form of her controlling, prejudiced & jealous husband, Marquis de Montalembert (Marton Csokas). Despite this, sparks ignite btwn. Chevalier & Marie-Josephine.
This film highlights Chevalier's phenomenal talent, but also tackles the serious racism that he continually faces in his life and, it is satisfying to watch him meet every socio-cultural challenge with steadfast determination; even if his bold defiance of convention strains credulity given the time & place. There is a degree of suspense throughout the film since we know that the odds are stacked against him musically, professionally, romantically & any other way. Kelvin Harrison, Jr. embodies Chevalier quite well. That said, I wish he were given a big monologue or moment of deep introspection to latch me on to him, more so than what the script gives us. He looks good, plays the violin good, etc. But I did not get a real sense of personality to him; his mournful eyes do a lot more than anything the rest of his face is doing, or whatever was coming out of his mouth -- a richer characterization was warranted.
Harrison does exhibit great chemistry & ease with Samara Weaving who, for me, actually gives a more interesting performance as tragic Marie-Josephine. I've seen Weaving before and, she is absolutely the most impressive here than in anything else I've seen her in. Sections of the film dealing with her relationship with Chevalier give-off a strong emotional quality because of their intangible connection. And this romance really underlines how different the playing field is for Chevalier. Despite obvious undeniable talent, history tried to erase his music & his story. This film's race issues were as relevant then in 18th c. France as they are now.
Ronke Adekoluejo {as Chevalier's freed slave mother}, Alex Fitzalan {as Phillipe, an ally to Chevalier} & Sian Clifford {as Mme. de Genlis} rounds out the cast very well. Chevalier is an exceptionally stylish film to look at, with Jess Hall's artful cinematography & opulent 18th century sets & costumes; helping to immerse us in the setting. I just feel like with exception to Samara Weaving {stellar}, the music {Kris Bowers & Michael Abels's fabulous compositions}, & the visuals {excellent}, every other facet of the film is just 'good', or even lacking to some degree. After the great opener, the script favors quick resolutions & melodramatics to depth. I just feel like Chevalier - and his story - deserved better. The movie isn't quite as good as its subject.
Taking that advice to heart, he hones his violin skills and also masters fencing. As a young adult and, given the racism present at that time & place, he struggles to establish himself. A curious friendship with enigmatic Queen Marie Antoinette (Lucy Boynton) leads to her giving him the professional name: Chevalier de Saint-Georges. When a position to lead the Paris Opera arises, Chevalier & presumed contender, Christoph Gluck (Henry Lloyd-Hughes), each compose an original opera; and judges will determine who gets the job. To star in his own opera, he wants the talented & beautiful Marie-Josephine (Samara Weaving), not egotistical La Guimard (Minnie Driver, giving us another round of Carlotta from The Phantom of the Opera). Casting Marie-Josephine has its road block, though, in the form of her controlling, prejudiced & jealous husband, Marquis de Montalembert (Marton Csokas). Despite this, sparks ignite btwn. Chevalier & Marie-Josephine.
This film highlights Chevalier's phenomenal talent, but also tackles the serious racism that he continually faces in his life and, it is satisfying to watch him meet every socio-cultural challenge with steadfast determination; even if his bold defiance of convention strains credulity given the time & place. There is a degree of suspense throughout the film since we know that the odds are stacked against him musically, professionally, romantically & any other way. Kelvin Harrison, Jr. embodies Chevalier quite well. That said, I wish he were given a big monologue or moment of deep introspection to latch me on to him, more so than what the script gives us. He looks good, plays the violin good, etc. But I did not get a real sense of personality to him; his mournful eyes do a lot more than anything the rest of his face is doing, or whatever was coming out of his mouth -- a richer characterization was warranted.
Harrison does exhibit great chemistry & ease with Samara Weaving who, for me, actually gives a more interesting performance as tragic Marie-Josephine. I've seen Weaving before and, she is absolutely the most impressive here than in anything else I've seen her in. Sections of the film dealing with her relationship with Chevalier give-off a strong emotional quality because of their intangible connection. And this romance really underlines how different the playing field is for Chevalier. Despite obvious undeniable talent, history tried to erase his music & his story. This film's race issues were as relevant then in 18th c. France as they are now.
Ronke Adekoluejo {as Chevalier's freed slave mother}, Alex Fitzalan {as Phillipe, an ally to Chevalier} & Sian Clifford {as Mme. de Genlis} rounds out the cast very well. Chevalier is an exceptionally stylish film to look at, with Jess Hall's artful cinematography & opulent 18th century sets & costumes; helping to immerse us in the setting. I just feel like with exception to Samara Weaving {stellar}, the music {Kris Bowers & Michael Abels's fabulous compositions}, & the visuals {excellent}, every other facet of the film is just 'good', or even lacking to some degree. After the great opener, the script favors quick resolutions & melodramatics to depth. I just feel like Chevalier - and his story - deserved better. The movie isn't quite as good as its subject.