Chevalier
A juicy look at the life of 18th-century classical composer Joseph Bologne
The composed composer: Kelvin Harrison Jr.
Image courtesy of Walt Disney Studios
An audacious violin duel with Mozart sets the stage for the fictionalised account of Joseph Bologne, Chevalier de Saint-Georges. Ripped from an alleged incident between Eric Clapton and Jimi Hendrix, the maestro head-to-head comments on the difficulty black artists often face in finding respect and recognition for their talents. Director Stephen Williams also saw parallels between Bologne and Bob Marley, with every call sheet during production featuring a lyric from the reggae legend. Born of an illegitimate affair on a plantation, Bologne (Kelvin Harrison Jr.) is a man trapped between different worlds. His father manages to enrol him into a respectable academy based on his musical abilities. Abandoned to make his own way in the world, he is left with his father’s admonition, “You must be excellent, always excellent.” Anything less means failure in a world that’s structured to his disadvantage.
Bologne was an excellent swordsman in real life and despite the bullying he endured at school, a fencing bout between Bologne and star pupil Alexandre Picard — which was betted on heavily by partisans and opponents of slavery — led to a monumental win for Bologne, with Marie Antoinette dubbing him Chevalier. Though his title grants him a position of privilege and an invitation into the inner sphere of the French Queen, he’s always on the periphery, unable to fully fit in with the social elite and too far removed from the community that shares his background. Kelvin Harrison Jr. is a charismatic lead in a marvellous star-making performance. Leaning into the historical data suggesting de Saint-Georges dallied with the women of Parisian society, he is presented here as something of a musical thirst trap for the aristocracy. One scene sees a room full of content sleeping ladies, two of which are sandwiching Bologne in bed. As with any biopic, some inventiveness and liberties are to be expected, but at times Stefani Robinson’s script feels more Bridgerton than Bologne.
Lucy Boynton delivers a memorable turn as Marie Antoinette, as does Samara Weaving and a seductive Minnie Driver as the opera diva Marie-Madeleine Guimard. There’s also certainly a lot to recommend from a visual and design standpoint, with sumptuous cinematography, costumes, and all the trappings of a period piece production design. The score deftly blends classical music from the period with Kris Bowers’ original score, which finds inspiration in the music of the time and our contemporary time. The messages reinforcing that our choices come from within, including the choice to fight against our oppressors, unfortunately land with a very heavy hand. The forced messaging of the third act weaves the piece toward an overly operatic flourish.
CHAD KENNERK
Cast: Kelvin Harrison Jr, Samara Weaving, Lucy Boynton, Marton Csokas, Alex Fitzalan, Minnie Driver, Ronkẹ Adékoluẹjo, Alex Fitzalan, Henry Lloyd-Hughes, Sian Clifford, Ben Bradshaw, Alec Newman, Joseph Prowen.
Dir Stephen Williams, Pro Ed Guiney, Andrew Lowe, Stefani Robinson and Dianne McGunigle, Screenplay Stefani Robinson, Ph Jess Hall, Pro Des Karen Murphy, Ed John Axelrad, Music Kris Bowers, Costumes Oliver Garcia.
Element Pictures/TSG Entertainment-Walt Disney Studios.
103 mins. USA. 2022. US Rel: 21 April 2023. UK Rel: 9 June 2023. Cert. 12A.
