Chevalier tells the remarkable true story of Joseph Bologne, the biracial son of a wealthy plantation owner and slave who rose to artistic acclaim before the French Revolution. Bologne, played superbly by Kelvin Harrison Jr., excelled in the violin, piano, and fencing despite facing hideous racism. His incredible talent and determination attracted the attention of Queen Marie Antoinette (Lucy Boynton). But it was his ill-fated romance with married opera singer Marie-Josephine de Montalembert (Samara Weaving) that shook Parisian society. Chevalier is an exquisite and well-acted period drama. It brings to light the brilliance of an extraordinary man purposely forgotten by history.
Joseph Bologne (Harrison Jr.) watches intently as the famed Wolfgang Amadeus Mozart (Joseph Prowen) delights a theater of aristocrats with his virtuoso violin. The applause turns to gasps as the Black upstart walks unto the stage for a friendly competition. The film flashes back a decade earlier as a young Joseph is dropped off by his father at a prestigious school. The racist headmaster doesn't accept bastards, especially one of mixed race. Disgust turns to wonder as Joseph shows his violin prowess. He's allowed admittance but cannot be second in any regard. Bullies and beatings are soon followed by begrudging respect.
Marie-Josephine's Attention
Marie Antoinette (Boynton) parades smugly with Joseph after his audacious display. He stuns the fawning crowd with a bold announcement. The Chevalier de Saint-Georges desires to be the conductor of the esteemed Paris Opera. Marie cheers his intention, but others aren't amused. Lady Marie-Madeleine Guimard (Minnie Driver) doesn't take kindly to rejection. She seethes as Joseph focuses his attention on Marie-Josephine (Weaving).
Louis Philippe (Alex Fitzalan) warns Joseph to tread carefully in his amorous pursuit. Marie Josephine, a fantastic singer, is married to the vicious Marc René (Marton Csokas), the Marquis de Montalembert. He destroys enemies on the battlefield; imagine what he would do to a multiracial kid who didn't "know his place."
Chevalier sharply contrasts class and race inequality. Aristocrats drink, dine, and cavort in luxurious splendor. Their parties and idle endeavors can't drown out the boiling rage of oppressed peasants. Director Stephen Williams (Lost, Watchmen) cuts away from lavish hedonism to show the beginning stages of a bloody coup. Joseph becomes keenly aware of mass discontent as his own station is threatened by jealousy and bigotry. A lifelong effort to belong where he wasn't wanted leads to the embrace of commoners previously shunned.
A Cultivated Image
Affairs, palace intrigue, and political machinations sizzle in tempestuous subplots. Joseph and Marie-Josephine have a magnetic attraction. It's obvious to everyone around them and sparks salacious rumors; which aren't tolerated by her cruel husband. Marie Antoinette, the commoners' primary villain, whether justified or not through torrid smearing, has no real loyalty to Joseph. She basks in his celebrity until it becomes a detriment. Her cultivated image won't be tarnished for friendship with a racially inferior man.
Harrison Jr. exhibits significant range in an all-encompassing performance. Joseph is the best at everything deemed admirable. His skill is unmatched from the bedroom to stage. But pride and arrogance doesn't overcome systemic oppression. The nail that sticks out gets hammered. A bitter third act takes the shine off marvelous settings, costumes, and illicit rendezvous.
A Contemporary of Mozart
Chevalier sweeps you off your feet to a certain extent. The plot doesn't really have any surprises, but that's not a dealbreaker in this instance. I didn't have a clue about Joseph Bologne before watching this film. He wasn't in my history books as a known contemporary of Mozart. Black figures of his stature weren't taught for obvious reasons better left out of this review. Audiences will finally learn about a man who deserves to be known.
Chevalier is a production of Element Pictures and TSG Entertainment. It will have a theatrical release on April 21st from Searchlight Pictures.