Cuestión de buen gusto

Bernard Rapp's "Une affaire de gout" has an unusual take on the controversial and sensational subject of homosexual love and passion:the leitmotif is food and the eroticism is more on the psychological than on the physical side.

A big-shot businessman employs a young and good-looking waiter to be his "taste-tester," as he is extremely meticulous when it comes to food quality, suspects that someone might put his life on danger by poisoning him, and is particularly averse to cheese and fish.He pays the young man a hefty salary, shelters him in a nice and comfy mansion and subjects him to a rigorous "fasting" and "asceticism"---in the process, he becomes the businessman's most trusted and influential right-hand man.The young man is all too willing to let all this pass,as, according to him, he wants to be absorbed in the tycoon's "craziness."

In the course of the film, we learn that the tycoon harbors a deep-seated pain and trauma, for his father died of drowning brought about by a ship mishap as he was about to bring them home some "cheese" and when his body was found, it was discovered to have been eaten by "fish" (thus, the businessman's aversion to them).

Therefore, we may reasonably assume that by having his food tasted first by the young man, the businessman is seeking once again the approval and assurance of a father-figure (though admittedly much younger than him)---the things which he never had because of his father's untimely death.

Or, conversely, the wealthy man is trying to act out the role of a caring and concerned father to the guy, a kind of living up to the legacy of his late father so that his death may not be so much of a burden and a source of guilt for him.

But, as the relationship between the two men is pathological in nature, it reaches the point where the wealthy man starts insulting and eventually abandons among the rags the young man, culminating in a tragic event that, in a different mode and context, makes the former suffer the same fate as his father.

With this, "Une affaire de gout" feels like a case history by Freud or, in some respects, by Menninger, as the homoerotic element is subtly manifested in certain forms of behavior and action that the characters take, whether they're aware of it or not, and the instances wherein they injure themselves or suffer from certain kinds of organic illness suggest a form of self-destruction that they're covertly aiming at, both as a means of punishment (for some "guilty" and "immoral" act) and a source of pleasure (serving as an "outlet" for homoerotic impulses and cravings).

Well, I guess it's "a matter of taste" whether one can accept the film's revealing and disturbing premises or not.

I actually enjoyed this smooth and somehow predictible thriller from former TV-show host bernard Rapp (ok, he is a film maker now, this movie prooves that). It reminded me that you eat very well in the good old city of Lyon. What else can I say ? A little Chabrol (Claude)-style maybe. The acting is okay, I specialy enjoyed Bernard Giraudeau. It was a pleasure to see again Jean-Pierre Leaud (the "antoine Doisnel" of François Truffaut's 400 blows).

Bernard Rapp's first work is not that much original:a strong Chabrol influence can be felt here there and everywhere.Two movie comes to mind "les biches" (1967) and "Betty" in the nineties.Both stories concern women,but it does not make a big difference.There's also "une étrange affaire" (1981) a Pierre Granier-Deferre effort,in which Michel Piccoli and Gérard Lanvin had a relationship close to that of Rapp's heroes.And let's not forget the classic Losey's "the servant" (1963)

That said,it's a watchable movie though,thanks to Bernard Giraudeau's sensational portrayal;if an actor can redeem a somewhat hackneyed script,this must be Giraudeau:smooth but threatening,affable bon vivant but subtile tyrant,he completely mesmerizes not only his young taster but also the whole audience.He's so powerful that the other actors (including an aging Jean-Pierre Léaud) stay on the bench.I wish he could find a director worth of his exceptional gifts.

The movie uses flashbacks and its construction recalls "les aveux de l'innocent" (1996) ,another offbeat story.The ending is rather unlikely and disappoints a lot.The female part is a cardboard character,and the actress is unable to act as a counterbalance;in "une étrange affaire" ,Nathalie Baye made all her scenes count.

See it anyway!every time Giraudeau is on the screen will make all worthwhile.And try ,if "une affaire de goût" is for you an acquired taste,to see the other movies I mention.

This is a story of a beautiful innocent young man destroyed by a rich old geezer. What exactly leads to our little pal's doom? Maybe he's destroyed by his Dorian-Grayish self? I don't know, and I doubt anyone would sympathize with the characters and learn a lesson or two. This movie is too weak to be a thought-provoking fable. It's not even intense enough to pass as a second-rate crime thriller.

What distinguishes it from a Hollywood psycho flick is the French gourmandism. The food here could have been effectively symbolic. Unfortunately, the camera does not linger long enough to let it speak for itself.

It's not that the director favors his actors. Giraudeau has one facial expression throughout, and Lorit two---happy and unhappy. What a waste of such a fine actor, who has done much better in Kieslowski's Red? The rest of the characters function no more than a walking tree in your high school musical.

I adore French films, but this one is a downer. If you want to see a film about unspoken homosexual relationship, there's "Beau Travail." If you want to see a film about a lonely human being who does not get sexual fulfillment, there's Catherine Breillat's "Romance." If you want to see a film in which the main character's inner self comes alive on screen, there's Philippe Harel's "Whatever.' If you just want to get a kick out of knowing who kills the ol' villain, any Hollywood thriller will do. Do not waste your time on "Une affaire de gout."

The meaning of "taste" is in question throughout. Previous comments center only on psychopathology or cinematography, with little mention of language. I think the variable meanings of words, whether the French dialogue or the English subtitles, is the key to understanding this rather transparent but mildly engaging film.

The most obvious example has to do with the title, of course. When "taste" of any sort runs headlong into a wall of insensate and objective laws or rules of behavior, it is reduced to meaningless metaphor. Individuality is thus ultimately rendered a nullity. That is the central meaning of the film.

Self-destruction brought about by some sense of one's inability to achieve a perfect harmony with another's unique personality has therefore nothing and yet everything to do with "taste." It is as well the essence of narcissism.

This film could have been conceived and produced only in France.