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‘CHEVALIER’: A BELATED INTRODUCTION

Don’t feel ignorant if you’ve never heard of Joseph Bologne; neither had some of the people who made this movie. It’s easy to see why they responded to its story once it was uncovered. Bologne was the illegitimate son of a white 18th century plantation owner and a black slave woman. He was born with a gift for music and was a brilliant violinist and composer, as we learn in a sensational opening sequence that pairs him on stage with none other than Wolfgang Amadeus Mozart. The scene is a tour de force that sets up everything that follows.

Kelvin Harrison, Jr. embodies the adult Bologne, who was welcomed in Marie Antoinette’s court in spite of being black, because he carried himself with great elegance and more than a soupçon of arrogance. From boyhood on, he discovered that his talent and personality would open doors that otherwise would have remained shut at that time.

But apparently there are gaps in the history of this unheralded composer and courtier, and many of his compositions no longer survive. That left me wondering how much of his story could be taken at face value, especially as Stefani Robinson’s original screenplay turns into a high-level soap opera. The Chevalier’s bold defiance of convention—and the open threats of a powerful and jealous husband—strain credulity and weaken the film.

There is little to complain about musically, as Kris Bowers and Michael Abels adapted and expanded Bologne’s surviving compositions and used them as inspiration for a newly-hatched score. The pieces performed on camera are deftly presented by director Stephen Williams and artfully edited by John Axelrad.

Chevalier is a provocative introduction to a historical figure whose life, whose very existence, has been largely overlooked until now. For that reason one can readily applaud the film and enjoy its strengths—and Harrison’s charismatic performance. But in the end, the movie isn’t nearly as good as its subject.

Leonard Maltin is one of the world’s most respected film critics and historians. He is best known for his widely-used reference work Leonard Maltin’s Movie Guide and its companion volume Leonard Maltin’s Classic Movie Guide, now in its third edition, as well as his thirty-year run on television’s Entertainment Tonight. He teaches at the USC School of Cinematic Arts and appears regularly on Reelz Channel and Turner Classic Movies. His books include The 151 Best Movies You’ve Never Seen, Of Mice and Magic: A History of American Animated Cartoons, The Great Movie Comedians, The Disney Films, The Art of the Cinematographer, Movie Comedy Teams, The Great American Broadcast, and Leonard Maltin’s Movie Encyclopedia. He served two terms as President of the Los Angeles Film Critics Association, is a voting member of the National Film Registry, and was appointed by the Librarian of Congress to sit on the Board of Directors of the National Film Preservation Foundation. He hosted and co-produced the popular Walt Disney Treasures DVD series and has appeared on innumerable television programs and documentaries. He has been the recipient of awards from the American Society of Cinematographers, the Telluride Film Festival, Anthology Film Archives, and San Diego’s Comic-Con International. Perhaps the pinnacle of his career was his appearance in a now-classic episode of South Park. (Or was it Carmela consulting his Movie Guide on an episode of The Sopranos?) He holds court at leonardmaltin.com. Follow him on Twitter and Facebook; you can also listen to him on his weekly podcast: Maltin on Movies. — [Artwork by Drew Friedman]

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