Chevalier

Revolutionary France in the moments leading up to the tumultuous 19th century was anything but tolerant. Times were changing, for sure, but one man struggled against the current to make his work known in an arena which was almost too backwards to appreciate it. That man was Joseph Bologne, the Chevalier de Saint-Georges. An impressive period piece from director Stephen Williams, Chevalier is a film which places its ambitions squarely at the feet of its lead performer, in this case the exceptional Kelvin Harrison Jr.  The latest film from Williams is a neat nod to revolutionary France, a time and setting which has lent itself to other memorable works. It serves as a backdrop to the rise and fall of one of the first Black classical composers, and legendary musician in his own right, Joseph Bologne, Chevalier de Saint-Georges.

Our opening scene shows our confident and skilled young string musician, Bologne, surprising and upstaging Wolfgang Amadeus Motzart himself in a highly entertaining and engaging way to start the show. What follows is the competitive battles that the Chevalier must face in his personal life, but also his professional one as he tries to win a position as the preeminent opera leader in France.

His previous patron, Marie Antionette, played by Lucy Boynton, eventually has to turn her back on him once the establishment of the Ancien Régime in France decides that it is not ready to have a person of color representing their country in the arts.

At the heart of the story, there is the issue of identity. Joseph is an illegitimate child of his white father and his Creole mother, and upon his father’s death, she comes to live with him. Played by Ronke Adekoluejo, she serves as a reminder of his heritage and his past when she comes to Paris. Joseph has, to a large degree, succeeded in the world of the wealthy French elite. His presence in these circles is a novelty, but he possesses virtuoso tendencies in music and fencing. He makes a name for himself but has a hard time fitting in.  For most of the film, Joseph is suspended between these two worlds, not French enough to be a real member of the cultured society, and too far removed from his Creole heritage to fit in with his mother and her friends.

For his trouble, Joseph also takes part in a forbidden love story, when he finds the girl of his dreams singing beautifully at a local party. It turns out to be none other than Marie Josephine de Montalembert, played by Samara Weaving. Her arranged marriage to a powerful Marquis has left her despondent and longing for companionship.

She and Joseph recognize the value in each other and begin a secret romance which yields both high and low points for each, culminating in a tragedy that is all too endemic of the times in which this story takes place. There are many great musical scenes here: clinching action shots of Joseph playing the violin and conducting his orchestra give the movie a vibrant, powerful feel. The costumes and sets are specific to the time period and the color palette and pastel macaroons conjure back memories of other similar films. The emotion is raw in this film; it is largely thanks to Harrison’s vulnerable and strong performance. He allows himself to feel the whims of his character, whatever they may be. When the queen bestows a title on him, we feel his gratitude and confusion. When he spirals downwards into despair and drinking, we too can feel his pain. This is the mark of a good actor: the ability to communicate one’s emotions through the emotive captivation of performance.

Politics and socialism have a role to play here too. This is, after all, a movie about revolutionary France. But it isn’t all encompassing; Joseph does eventually become a proponent of the cause of Egalite, but mostly because he sees the necessary changes that linger on the horizon. He does not want a person of similar skill to suffer because of where and how they were born.

This is a biopic of an enlightening nature. It offers much insight into a worthy individual. Even though he supported the Revolution and even led the first all-black regiment of soldiers in the fight, Napoleon Bonaparte sees to it that Joseph’s music and memory are erased when he takes control of the new France. Recent scholarship has unearthed much information about the Chevalier. This film offers a nuanced look into the life of a man who was way ahead of his time, especially in his success in a foreign environment.

On the strength of its lead performance and the creative direction of Williams, Chevalier shines as a historical biopic and makes for an entertaining experience. As socially relevant as it is, the film also contains a specific snapshot of French culture in a time when everything was changing.  Chevalier does a good job at helping to turn back the clock on the political erasure of Joseph Bologne’s achievements. This is a noble pursuit and the film spectacularly captures the life and times of the one and only Chevalier.