Vatel, um Banquete para o Rei

The film opens with an elaborate scene of the Sun King defecating while conducting an on-the-road political meeting with his closest advisors. This is to establish that kings are human and that Vatel is of the History-as-a-collection-of-body-fluids school of movie-making, of which 'Le Roi danse' is a prime example. It's all downhill from there. The story is very loosely inspired by Mme de Sévigné's relation in her letters to her daughter of the story of the famous chef who committed suicide because the fish were late in arriving during a banquet organized for the King's visit to his master's castle, thus becoming the martyr of haute cuisine and an inspiration to caterers everywhere. This is not the story you will see in this film however. The hero falls in love with the King's mistress (Uma Thurman), an impossible attachment which explains his final demise. Every attempt of the art directors to convey the beauty, expense and spectacle of a royal party in XVIIth century France is marred by sadistic and inopportune gory deaths and dismemberments. Even Vatel's suicide is made to look as disgusting as the law will permit. The members of the cast appear to be sedated or in various stages of a post-overdose depression. The script's comments on the nature of love, power, servitude and human happiness are all pointless. Avoid at all cost.

"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.

Letting yourself be submerged by the visual aspects of this subtle but not so fast movie is the key to its understanding. The images are rich and varied; the atmosphere is deep in history if not somewhat accurate at least attempts to recreate wonderfully the ambiance, decadence and glory that was France during the Reign of Louis XIV. Those who love history will love this movie, not for its content, but for its exuberance and unashamed panache.

I will not attempt to decipher the story line, the words in itself are what is important here. Whether the story is accurate or not or whether is fact or fiction or whose point of view is it, is irrelevant, you should make your own conclusion. The most important aspect for me is its own subtlety, seeing its hidden little treasures in its rich tapestry of images and symbolism was the most fun, also its unassuming little gems of wisdom about human nature here and there, gave enough impulse to the story to keep it interesting, Yes! This is not `The Three Musketeers' for those looking for action and Yes! This is not `Cyrano' either for those looking for the power and poetry of the prose.

What these characters do is not as important as how they do it, specially during those days of very conventional and strict etiquette, their seemingly detached attitude is only a reflection of their hidden emotions as much as their blind following of the rules imposed by a necessary tyrant. Only then we come to understand that this was only a clever device that Louis XIV created to maintain all of these rich dilettante aristocrats busy with life at court to keep them away from the real world and the real politics thus providing him with absolute power (This was his glory not Versailles).

I find that if we look carefully under the varnish and the gold, they were not too far from the farce and ridicule that we see on today's society. When we look around, the music, the clothes and the places might be different, but the treachery, pettiness, envy, jealousy, hunger for power and those who utilize it for their own purposes are still the same. If anything, this movie is a mirror of society at is very worst and best, and a great point of reference to look at ourselves as we were and as we presently are. Those who pretend that this story is just a boring fantasy of the past of some fertile imagination dressed up in pretty costumes with some period music; they need a better set of glasses than an eye doctor can normally prescribe. Those with the sensitivity to appreciate what is not obvious and can read between the lines will be ready for a treat.

This film is about a servant of noble values having to prepare an extravagant feast for the King's visit.

Vatel understandably focuses on one single character, Francois Vatel. To me, everything else in the film seems to be subplots or minor characters. Much time is spent on portraying Vatel as a hardworking, bright and noble person. He even knows his subordinates' life history by heart! Vatel's noble virtues contrasts with the corrupted mortals of high social status. The film's dark theme is sometimes overshadowed by the merry atmosphere of the feast. The extravagant sets and amazing costumes are very dazzling. The film is worth the watch just to see the feast scene!

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.