Vatel

Vatel was not a bad movie, in fact it was worth viewing. If it were not a true story you could argue it was too calm and had too little excitement for the people who seek diversion entertainment. However, since it is a true story, about a royal cook and what he had to go through just to do his art it becomes very interesting. Another good theme was the disfunctionality of the royals and how the servants interacted with these powerful people (Vatel tried not to as much as possible). I particularly liked the part where Vatel said "no thank you" so philosophically to a nobleman's perverted request that Vatel won him over as a friend through respect. If you like brinkmanship and maneuvering, this movie has it, be it subtle.

"Vatel" is a French period film with Depardieu as the title character, a master steward under the crown of King Louis XIV whose job it is to put on feasts and spectacles for the pleasures of royalty. Typical of director Joffe, the film peers deep into the character of Vatel, around whom swirl politicking and wickedness, with such depth and dimension as to make the plot of secondary importance. Replete with sumptuous sets, elegant costuming, and epicurean delights, the film fills the eye and whets the palate as few films can while it paints a portrait of a sensitive and honorable man who makes the supreme sacrifice for dignity.

A superb watch for those into period films painted with delicate brush strokes and subtle nuances.

This film tells the story of François Vatel, a master of ceremonies at the service of Prince Louis II of Condé, one of the most important aristocrats of the French court but that was bankrupt and away of the good graces of King Louis XIV. The approaching of a war with the Netherlands makes Condé, anxious to led the king's armies, decides to invite the king for a weekend at his Castle of Chantilly, hoping to be able to recover the royal sympathy. Then Vatel is in charge of organizing a three-day party like never seen before for king's amusement. Based on historical events, the film is directed by Roland Joffé, has argument by Jeanne Labrune (in original French version) and features Gérard Depardieu (Vatel), Uma Thurman (in the role of Anne of Montausier, one of the king's lovers) and Tim Roth (as the Marquis de Lauzun, the king's confidant).

Joffé managed to make the audience relive the events. The environments, the locations for filming, the costumes, the music, everything was thought out and analyzed carefully to reproduce the atmosphere of the time, so we must congratulate this effort for historical accuracy, which even received a nomination for the Oscar for Best Art Direction. The actors met well with their roles. The script also works in interesting ways, including some situations where we glimpse the contrast (and even shock) of the two worlds of seventeenth-century France: the richness and unparalleled luxury of the court and the absolute misery of the common people. Also positive note for the soundtrack of Enio Morricone, although not one of his best-known or most interesting compositions.

It is deeply frustrating that what could, and should, have been a great period drama, with some fine acting talent, should end up a dull, mediocre piece of cinema. The film lacks structure, has a lacklustre script, whilst the acting performances are generally lame and, in some instances, quite awful. There is some graphic and totally unnecessary violence, and vulgarity is used as a substitute for wit. To garnish this unhappy ensemble, the background music is repetitive and feeble to the point of nausea. I couldn't get out of the cinema fast enough.

First, the acting. Uma Thurman appears to be totally miscast in the role of Vatel's secret admirer, and her performance is dull, emotionless and sometimes irritating. By contrast Gérard Depardieu, a great acting talent, is wasted completely. All he is required to do is walk about the sets barking out orders to his servants and occasionally looking a bit miffed when one of the aristocracy gets his gander up. One suspects that he has already realised that the film is a turkey and so feels no enthusiasm to waste his energies trying to lift the film out of the pit of mediocrity in which it is well and truly lodged. And one can hardly blame him.

The film's only saving grace - indeed the only reason for seeing the film at all - is the magnificent depiction of the royal entertainment designed by Vatel. The scale of the activities is quite breathtaking, brilliantly executed, and offers an interesting insight into the life of the royal court at this time in history. Unfortunately, we are not allowed to enjoy the legendary fireworks scene because a servant is brutally and explicity killed in the process. This is probably the one true great moment in the film, but it seems to get in the way of the one piece of entertainment on offer to us and the tragic impact is lost completely.

On balance, it is the ending that is the greatest disappointment. This should be a deeply moving and tragic finale, but it fails completely to have any effect. The film just loses momentum after the fireworks scene and gradually shrivels up to nothing. It looks as if the entire cast and production team gave up and went home early. The final scenes lack any emotional impact or integrity and overall the film appears shallow and insubstantial.

A totally wasted opportunity.

Can't wait to show it to all my Friends again and again. You will be impressed by the beauty of the scenes and discover the public show technics used under French King, Louis the 14th. It is amazing to see how much they could do at that time and how they were doing it. Apparently they could also do ice statues as a dinner presentation. Whaow!! what a show!