Chocolate

Elusive, introspective memories of a childhood in colonial Africa are recalled through the eyes of a self-possessed young girl with the telltale name France. In her calm, observant demeanor she is, herself, almost African, and likewise the film is beautiful and aloof in a way that speaks volumes with a minimum of words. Nothing is ever made explicit, least of all the suppressed attraction between France's young mother, left in charge of a remote homestead while her husband is away on business, and the handsome native houseboy who suffers his servitude with a proud but uneasy forbearance. Writer director Claire Denis shows a strong affinity for the landscapes and people of her adopted continent, maintaining a beguiling ambiguity about who exactly has the upper hand: the French masters or the passive, patient native servants.

I loved this film because in my mind it seemed to so perfectly capture what I imagined life in French colonial Africa must have been like in the 50's ("my" generation anyway). But I was truly enraptured by its quiet pacing and by the glorious ending. Within the last 5 minutes of this film, you must focus intently on what's happening. Never have I been more impressed with the "wrap-up" of a film. I remember yelling "wow!" when I realized it was over. On the other hand, my two daughters fell asleep on the couch!!

My 3rd-year French classes always enjoyed this film very much. In a multi-cultural, inner-city high school, the film provided many subjects for discussion (in French in class, but I know a lot of discussion went on in English after class). The most obvious is the relationship between Protée and Aimée compared to the one between Protée and France.

I always mentioned that I felt this film had one of the "sexiest" scenes I had ever seen in a movie. One year, a 17-year-old African-American shouted, "Yes!" when he figured out the scene: the one where Protée is helping Aimée lace up her evening dress, all the while both are examining the reflection of the other in the mirror. Directors use the "mirror technique" when then want to focus on the inner conflict on the part of one or more character in a scene: this is a perfect example of the technique, and it is "sexy".

Most students had trouble understanding the end of the film. One suggested that one theme of the movie was "Africanism", and that no matter how much one loved Africa or Africans, one cannot "become" African (like the driver tried to do): one must BE African.

A lovely comedy-drama that seems like a gorgeous, sunlit, Orientalist-like tourism into an unfathomable Africa, and an elaborate, irrelevant exercise in Merchant-Ivory-style historical reconstruction, but is actually a quietly disturbing examination of the effects of colonialism. Being French, the focus is one the microcosmic - it's not vast historical truths that are enacted, but the inability of a beautiful white woman to act on sexual stirrings for her black servant. The film's surface elegance conceals remarkable disruptions in point of view and a storytelling style so elliptical you might even miss the point if you're not careful. CHOCOLAT is also a wonderful coming-of-age film that refuses the easy moral progress typical of the genre. The lengthy coda could have been shorter, though.

By way of a woman's remembrance we are asked to reflect upon themes - coming of age, colonialism, race, religion, the power of the elements - that are often presented in a heavy-handed and awkward manner.

This film is very understated and thoughtful. There is no one single message or moral here; these are complex themes and so there is often ambiguity.

I liked this film very much. I know this will seem trite, but, not many American Directors make small films like this - ones that deal with complex themes in a gentle and intelligent manner.