The historical drama Chevalier pulls no punches. Director Stephen Williams sets out to push buttons – and push buttons he does.
Set in France, it is the story of Joseph Bologne, who was born in 1745 on the island of Guadeloupe in the Caribbean. He was the son of 16-year-old Sengalese slave Nanon and a wealthy French plantation owner. As a child, his father sent him to the famed La Boëssière Academy to study music, mathematics, literature and fencing. Joseph excelled and became a virtuoso violinist, an ingenious composer and a champion swordsman. The French queen Marie Antoinette recognised Bologne’s genius and gave him the historic title Chavalier in 1762.
For a time, he was one of the most charismatic and unexpected members of Marie-Antoinette’s inner sanctum. But, as a man of colour, his appointment outraged many and the cards were forever stacked against him. Despite this, he rose to high acclaim, but there were always higher powers waiting to tear him down. A star-crossed love affair with married singer Marie-Josephine (Samara Weaving) certainly didn’t help his cause. Marie-Josephine and Bologne’s brief interlude ignores societal constraints, but it’s only a matter of time before reality intervenes.
Chevalier is a film with many facets including racism, entitlement and arrogance. Written by Stefani Robinson, the language used is deliberately vitriolic and, as such, intended to fire up audiences. Its hate-filled tone is particularly unpalatable, but important to understand the antipathy of the times. Joseph Bologne was forever swimming against the tide as some would never accept him.
Kelvin Harrison Jr comfortably straddles the requirements of his role. Bologne knows how talented he is. In fact, he has tickets on himself. He is also a black man in a white world. Samara Weaving fills the part of a caged bird, desperate to break free. Lucy Boynton plays a queen under intense pressure, who will inevitably buckle. Marton Csokas is ruthless as the Marquis De Montalembert, Marie-Josephine’s husband. Minnie Driver plays scorned songstress La Guimard, who knows which side her bread is buttered.
Many of the sets, settings and costuming are sumptuous. They are the work of production designer Karen Murphy, costume designer Oliver Garcia and set decorator Lotty Sanna. Jess Hall’s cinematography is also triumphant.
But Chevalier chooses not to dig deeply into its harrowing subject matter. Rather it’s a tabloid representation of shameful times.
Alex First
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Alex First is a Melbourne based journalist and communications specialist. He contributes to The Blurb on film and theatre.
