Un affare di gusto

Bernard Rapp's previous feature Tiré à part (Limited Edition) had prepared me for this stimulating exercise in domination by mind games. It is very impressive, the way Rapp lays out the slow decline of Nicolas Rivière through luxury, laziness and the unwillingness to look squarely at the danger he's in. His job description is taster, but really he is living a surrogate life for his boss Delamont (for the latter, think Howard Hughes). The older man wants to watch the younger go parachuting, skiing, take a trip into the desert to sharpen his senses,even make love to a blonde at a party. For those who are looking for a homosexual basis for the relationship between these two men, the scene with Nicolas starting to warm up the blonde in bed, only to be dismissed by Delamont who wants to claim his prize will provide more than enough ammunition.

Bernard Giraudeau is splendid as Delamont; he understands how to make a young man feel favored then inadequate through a minimum of words. He used that purring voice and sly grin before, in Drops of Water on Burning Rocks (Ozon), where he made life hell for his teenage lover. Jean-Pierre Lorit is adequate, but no more, as Nicolas. Florence Thomassin reminds me of a fashion model who has strayed into acting; her height and good bones don't make me forget how stiff she is.

Bernard Giraudeau plays Frederic Delamont, a wealthy, and eccentric, middle aged man who hires Nicolas Riviere, a waiter in an upscale restaurant, to be his "taster". It's a premise that is at least unusual, if not downright unique. Delamont has phobias for certain foods, especially fish and cheese. It's up to Nicolas to shield Delamont from these offensive foods.

As the story unfolds, Nicolas, who has a girlfriend and seems reasonably well adjusted, becomes gradually more ensnared into Delamont's life, to the dismay of the girlfriend. But the perks are nice for Nicolas, so he continues. It's a trap, though, and the question becomes: can Nicolas escape the trap before it's too late.

Although the film's premise is interesting, the plot is slow going, and at times tedious. I'm baffled at Delamont's motivations. He's a powerful businessman who can presumably pull the strings of any number of employees or business associates. Why does he feel the need to control someone in his personal life? I would think his impulse would be the exact opposite.

In any event, this psycho-drama has a "spider and fly" quality to it. The screen story is told in flashbacks, which makes the film confusing, at the beginning. The acting is quite good, overall.

Ultimately though, I just could not identify with the characters in this film. They seemed too remote and too thinly drawn to care about. And the film's dry plot quickly becomes tiresome and dull.

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.

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.