Jay Rohr
Like some songs, certain lives sing across time as is the case in Chevalier. Here the story of Joseph Bologne Chevalier de Saint-Georges unfolds with history rhyming in ways all too familiar. Yet, the movie may leave audiences wanting more than is seen on screen, and perhaps that’s a good thing.
The story follows Joseph Bologne the mixed race, illegitimate son of a French aristocrat. Having displayed a prodigy’s musical potential, the young child is dumped in an elite school by his father. There Joseph excels in all fields until his talents elevate him to the height of French society. Yet, his undoubtedly superior skills cannot crack through racial barriers. As such, he’s unable to love who he wants, and cannot attain the dreams haunting his frustrated ambitions.
The bulk of the film takes place in Paris circa 1789 with the French Revolution nearing. Much of Bologne’s youth is told in broad strokes. This sets up a trend throughout the movie which allows Chevalier to touch a wide variety of issues without ever really lingering on much. While the film flows steadily, it sometimes feels like it breezes by moments that could benefit from more reflection.
For instance, there isn’t really a sense of why certain relationships have come into existence. Some examples include the closeness of Bologne and his best friend Louis Philippe II, Duke of Orléans, or the Chevalier’s intimate acquaintance with Marie Antoinette. Fortunately, performers Kelvin Harrison Jr. (Cyrano, The High Note), Alex Fitzalan (The Society), and Lucy Boynton (The Pale Blue Eye) have the skill and chemistry to make their respective roles as well as their relationships feel genuine.
That said, there isn’t a bad performance in Chevalier. However, some players have been given better opportunities than others. Samara Weaving as Marie-Joséphine de Comarieu, Joseph’s ill-fated love interest, gets plenty of dialogue that allows for subtext and a quietly blooming relationship with Kelvin Harrison Jr.. Unfortunately, Joseph’s mother Nanon, portrayed by Ronke Adekoluejo (Been So Long), doesn’t get the same depth. And frankly, her story is as, if not more, interesting than that romance. Add on the fact Ronke Adekoluejo seems capable of carrying the role to deeper places, it feels like a lost opportunity.
Such is the constant frustration with Chevalier. It’s a fabulous looking film that visits a lot of important topics but is in such a hurry to include them all it never stays on anything for much more than a blink. Consequently, meaning is implied because things are mentioned rather than exploring what makes them meaningful.
This dash through the history of a fascinating figure isn’t necessarily a bad thing. The film does what all good historical movies do. It encourages not only an awareness of but a curiosity regarding the subject matter. There’s no way to see Chevalier without wanting to know more about the main character, a sword fighter violinist celebrity of the highest degree.
From a narrative standpoint, the movie also takes some praiseworthy risks. Screenwriter Stefani Robinson (Atlanta) has crafted a story that features triumph chased by tragedy. For every rousing success there is a defeat looming on the horizon. Of the little left to know — bigoted fools like Napoleon Bonaparte made it a point to try and erase Bologne from history — the story does not end well, and Chevalier has the courage not to rewrite the past to make audiences feel good. As such, the movie inspires as much as it breaks the heart.
From a production standpoint, Chevalier hits a lot of high marks. The costume design is impeccable. Sets, though often minimal, feel like real places so long as they remain indoors. Paris itself feels like something seen on television rather than the cinema which is a shame since the French Revolution is part of the story. And then of course, there’s the music.
Nowadays, classical may not be the most widely popular form of music. However, back in Bologne’s time, he was a celebrity on par with any pop or rock star, and Chevalier does a solid job conveying that notion. Spoiler alert — his introduction at the opening of the film is a violin shred battle as amazing as any guitar duel. It’s a scene likely to thrill fans of Lindsey Stirling or Mia Asano, but even those unfamiliar with the instrument will marvel.
Unfortunately, there aren’t as many moments involving Bologne’s music. That’s not to say his compositions aren’t present. It’s just hard to imagine audiences casually understanding what sets his music apart, making it so popular.
Chevalier isn’t perfect but some imperfections may not be its fault. Sticking to historical facts is hard since much of it is unknown. Broad narrative strokes help in that regard, but do keep the film from exploring certain points. However, this may arouse curiosity in some, sending them from the theater to seek out more information. I certainly did.
Cue the Bologne sonata for two violins in B-flat major, op. posth. — it doesn’t matter when something precious is found so long as it is not lost. Though the works of Joseph Bologne may not be as abundant as they should be, even centuries later, the composer reaches across time through this silver screen reminder. Thanks to a stylized telling brought to life by excellent performances, whatever ways he may’ve been erased, Chevalier ensures he never vanishes entirely.
