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Chevalier Review: Kelvin Harrison Jr. Is Magnetic In Strong, Memorable Biopic [TIFF]
Kelvin Harrison Jr. has been great for years, but in Chevalier, from director Stephen Williams and writer Stefani Robinson, the actor is especially excellent. As the titular character, Harrison gets to flex his acting muscles in new and exciting ways, and the payoff, in a film that is a standout, is thrilling. Chevalier, about the violinist and composer Joseph Bologne, is magnetic, a historical fiction that elevates itself beyond the conventional biopic to deliver a memorable drama about its subject's life.
The film's opening scene is one of the best in recent memory. Joseph Bologne (Kelvin Harrison Jr.), the illegitimate son of a French plantation owner (Jim High) in Guadalupe and the enslaved Nanon (Ronke Adekoluejo), upstages Mozart at his own concert, playing the violin so well that he receives uproarious applause. Chevalier then takes audiences back to Joseph's early days when, at the age of seven, he's dropped off at a French academy by his father, who believed his violin talents were so astounding they shouldn't be wasted. Joseph's early life is rough, and he struggles to be accepted by his white classmates because of their obvious racism, which breeds disdain. As he gets older, Joseph gains a friend in Philippe (Alex Fitzalan) and an audience with King Louis XVI and Queen Marie Antoinette (Lucy Boynton), who dubs him the Chevalier de Saint-Georges. He ultimately befriends Marie Antoinette and, when he’s up for a position to head the Paris opera, Joseph unites with Madame de Genlis (Sian Clifford) and singer Marie-Josephine (Samara Weaving), with whom he begins an affair, to produce an opera that will prove he’s the right man for the job. Of course, Joseph must navigate the racist spaces that might keep him from such a position, all amidst the rise of the French Revolution.
Chevalier is effective in its execution, building the growing tension between Joseph and those who purport themselves as allies while showcasing his brilliance as a composer and violinist. The love story between Joseph and Marie-Josephine is central to Chevalier’s story, especially as it reveals the composer’s blind spots in high society. Throughout the film, Joseph, who has worked extra hard to keep his place among the nobility of France, must learn who to trust and, when his mother returns, must figure out where he truly stands in terms of his identity. It’s a story that offers a window to the past, but is still as relevant and resonant today. Though there are many aspects of Bologne’s life that are lost to history, Williams and Robinson make the most of what is known and fill in the blanks of what is not with a few dramatic embellishments, including Bologne’s fallout with Marie Antoinette.
There is an electric energy that flows through Chevalier. From the phenomenal costume designs by Oliver Garcia to the moving and tantalizing musical score by Kris Bowers, the film begins and ends with a crackling vitality that doesn’t let up. There is interpersonal conflict, an inner search for identity in an ever-changing political landscape, revolution, a dramatic stand-off, romance, and so much more. Chevalier may not always bring enough attention to everything it tries to tackle storywise, but the directing and screenplay surely bring everything together in the film's finale. The end result is equal parts captivating, moving, and poignant. If there's any future film made about the Chevalier de Saint-Georges, it will have to contend with the greatness of Williams and Robinson's interpretation.
Kelvin Harrison Jr. is a marvel in a role that solidifies him as a leading man. The actor must balance every aspect of Joseph’s life and the company he keeps in each setting, which affects his behavior. Harrison does a tremendous job showcasing the musician’s interiority, revealing his ego, pain, and joy at every turn. The emotion is in Harrison’s face and eyes, his body language, and the inflection of his voice. He puts in a stunning turn and his nuanced, evocative performance makes Chevalier’s final scene all the more powerful. Lucy Boynton as Marie Antoinette also shines. There have been so many who have portrayed France's doomed queen, but Boynton offers a new take, one that hinges on convenient allyship, power, and a mean spirit that lurks around the edges. Samara Weaving, Minnie Driver, and Ronke Adekoluejo are fantastic as well in their supporting roles. Though Adekoluejo doesn't have as many scenes, her magnetic presence and expressive eyes add depth to her character.
From the costumes to the cinematography, music, direction and script, Chevalier shines like a bright spotlight that finally gives Joseph Bologne his due. The dramatization of his life works on almost every level and the story has a lot of heart and soul. The love story between Joseph and Marie-Josephine deepens the composer's own understanding of his status and the hardship he faces. With a stunning turn by Harrison, Chevalier is the kind of dramatic biopic worth watching.
Chevalier premiered at the Toronto International Film Festival on September 11. The film is 107 minutes long and is rated PG-13 for thematic content, some strong language, suggestive material and violence.
