TIFF ’22 Review: ‘Chevalier’ is propelled by its protagonist’s compositions and passion
‘Chevalier’ is based on a real-life, 18th century Black violinist, composer and French aristocrat who becomes entangled in a dangerous scandal.
Film watchers have been presented with numerous depictions of slavery and the unethical treatment of people of colour in the United States in the 19th century. Conversely, people of colour in some parts of Europe were better acknowledged as human beings and, in some cases, even accepted into high society. But that does not mean they were afforded all the privileges of their white peers. On the contrary, they were often reminded of their race and the freedom they enjoy if they did something that displeased their friends. Chevalier is the story of a brilliant Black violinist in 18th century Paris.
Joseph Bologne (Kelvin Harrison Jr.) was born in Guadalupe, the son of a French aristocrat and his African slave. Seeing potential in the boy, his father takes him to France for a proper education. Joseph proves to be an excellent student, becoming a top-tier fencer and virtuoso violinist. His talents gain the attention of Marie-Antoinette (Lucy Boynton), who gives him the title of Chevalier de Saint-Georges and a place in her inner circle. Elevated by his laurels, Joseph sets his sights on the most prestigious position in the French aristocratic world — head of the Paris opera. However, his desire for star singer, Marie-Josephine (Samara Weaving), rather than older vocalist La Guimand (Minnie Driver) jeopardizes his entire future.
The movie begins with a show-stopping scene in which Joseph interrupts a concert by Mozart, essentially challenging him to gentlemanly duel of violins. Of course, Joseph is an exquisite player and embarrasses his opponent, while also making a name for himself. His compositions are also lovely, though much of his original scores were lost when he was condemned and his music was banned. Still, the film’s score incorporates as much of his work as possible. Unsurprisingly, the score drives the film, expressing Joseph’s passion and skill. To achieve authenticity in the close-up shots, Harrison Jr. actually learned to play the violin during pre-production, which also makes his portrayal feel that much more real.
If music is at the film’s forefront, race is immediately behind it. At the advice of his father, Joseph endeavours to excel because it makes him more difficult to dismiss because of the colour of his skin —which proves true, until he disgraces himself so publicly, he leaves little chance for recovery in aristocratic society. Notably, when he’s in the good graces of his cohorts, he’s “mulatto”; but when they desire to knock him down a peg, he’s “Negro.” Joseph faced racism all his life, but it takes a long time for him to realize his life was unique and almost impossible to sustain without concealing his true self.
The film is based on the first-known Black classical composer, whose story was nearly erased from history. Thus, much of the narrative is imagined as they try to envision what actions guided Joseph’s life (at least what is known of it). Consequently, the characters are a mix of real and fiction, though all the actors take what they know of their personalities and portray them genuinely — particularly those who had to feign musical talents. The result is an energetic historical drama that puts the spotlight on an unknown figure.
Chevalier had its world premiere in the Special Presentations programme at the Toronto International Film Festival.
Read other reviews from the festival.
Director: Stephen Williams
Starring: Kelvin Harrison Jr., Samara Weaving and Lucy Boynton
