Academic Master

Education, English

Chocolat Film Review

Plot

A nameless female storyteller relates the story of a character by the name of Vianne Rocher (Juliette Binoche), a proficient chocolatier who floats across Europe with her spawn Anouk (Victoire Thivisol) after the north wind. At the commencement of the Lenten period in the year 1959, “fifteen years after the War,” they fold away to a quiet French township that closely observes tradition, as subjugated by the village mayor. Just as the rustics begin perceiving the forty days of Lent, Vianne opens a chocolate spree, much to Reynaud’s annoyance. Vianne attires more colorful clothing than the township women’s attire, is a skeptic, and has a prescribed child. She does not want to do well with the townsfolk but is optimistic about her occupational. Her pleasant and alluring nature commences winning the residents over one by one, instigating Reynaud to openly declare against her for enticing the people in a time of self-restraint and self-denial. The Comte will not divulge that his spouse has left him; he is passionately attentive to Caroline, but he does not tail her.

Irony

The irony in the film is that the chocolate shop was just set opposite the priestly, the point that the chocolate set and opened during Lent.

The church (which is usually a happy place) is continually dark and gloomy and is revealed as being degraded.

Symbolism

Symbolism in the film is used. Her red shoes and the cheerful colors of the chocolate are symbolic as they display what she considers friendships and founding relationships, whereas the Comte is continually in black, presenting that he is emotionless and believes in “hard work, diffidence, and self-discipline.”

The chocolate is a representation/symbol of an innocent character in the film.

Theme

The central idea of the film is Indulgence and Guilt. Chocolate, consequently, is a metaphor for both leniency and guilt, depending on the eccentric’s perspective. To Vianne and her cohorts, chocolate characterizes indulgence. “Everyone desires a little extravagance, a little self-indulgence on a timely basis,” Vianne explains to Reynaud. The delightful concoctions she produces in La Celeste Praline are so enticing that no one can struggle with them, although it is Lent period. “I sell reveries, small relaxations, sweet, inoffensive inducements to bring down a horde of saints crash-crash-crashing amongst the hazels and nougatines; is that so wicked?” Francis Reynaud contemplates this because Auburn represents culpability to him and his cliques.

The townsfolk feel guilty when they halt their Lenten fast by trying “just one” of Vianne’s delicious chocolates. The lane to declare their sin to Francis Reynaud so he can liberate them from their guilt. Reynaud has condescension for his worshippers who whisper their faintness to him in the confessional. He has not discerned chocolate individually since he was a fledgling boy. He, too, odors the delicious odor of chocolate as it puffs through town, yet he is capable of resisting the bait of the creamy confectioneries that seem continually to be alluring him.

Change

The film portrays modifications gathered among the characters. Vianne, who was not elongated, ran away from difficulties. Comte agrees that his wife will leave and moves away, leaving him alone. His interpretation of what brands “good” individual vagaries.

Humor in the Film

Vianne progresses a friendship with a bothered woman, Josephine (Lena Olin), who is a casualty of brutal whippings by her abusive spouse, Serge (Peter Stormare). After her partner violently smashes her and gashes her head, Josephine leaves him and travels in with Vianne and Anouk. As she commences to work at the chocolate shop and Vianne imparts her dexterity, Josephine becomes a self-confident, changed woman. Another instance is where there is unforeseen humor when de Reynaud attempts to make a pious nobleman out of Josephine’s unmannerly and drunkard spouse, Serge (Peter Stormare), compelling him to go over to Sunday school.

The Feature of the Film

One feature of the film is sound. In the movie, two sound possessions are heard when the harmony stops: birds are melodic, and church bells are resounding. The birds once yet again indicate the town’s seeming equanimity but also could be declaimed to characterize new life and new commencements symbolically, something that the city is about to familiarity. Things are around to change and convert transformed. The ecclesiastical bells are an accustomed sound to even the most pagan of addressees; most individuals know that they are resonated to appeal to people to church, or at least to entice attention to it. These bells, conversely, are not harmonious but are slightly monotonous and off-key, which could refer to the element that the weekly repetition of going to priestly is not a delight to these persons; these bells are not jubilant or inviting. Instead, they are tedious and monotonous.

The Reaction of the Film

The film received much more positively than expected as it gathered a lot of awards and honors in the industry. Of the reviews gathered overall about the movie, sixty-three percent gave positive comments about the film, thus gathering six grades out of the ten-scale reviews.

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