Delicious film shows how the French used food as a weapon | The Inverell times

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In the summer of 1987/88 the cinema where I spent my school holidays played the Danish film Babette’s Feast – the story of a refugee from the Franco-Prussian War who cooked a thank you dinner for the strict Danish community that welcomed them. turned out to be one of the most famous chefs in France. The film made me both a foodie and a cinephile, and I’ve been a sucker for a foodie film ever since. What is a foodie film? I think of the on-screen marriage of preparation and the love of food built into the fabric of a movie, such as in the sensual Mexican film Like Water for Chocolate, where the oppressed Tita expresses her love for the man she doesn’t could have flowed into her kitchen. especially a dish with quail in rose flower sauce. I think of the aging chef who prepares a perfect family last meal for his three grown daughters in the Taiwanese film Eat Drink Man Woman. I think of the giant timballo, a mix of different pasta dishes baked into a cake and made by kitchen brothers trying to save their dying restaurant on Big Night. With “Delicious” by director Eric Besnard, a new title will join this list of gourmet film favorites for many. Besnard takes us back to the time shortly before the French Revolution, when gastronomy was reserved for the nobility and food was a weapon in their social game. A gentleman cook and the meals he served his guests could build or break a reputation. The Duke of Chamfort (Benjamin Lavernhe) is quite proud of his chef Manceron (Grégory Gadebois) and invites rivals from the court to impress them with Manceron’s dishes. But Manceron makes a culinary faux pas and serves them a dish that we may pay through the nose for today, a truffle and potato tart, which for the Duke’s guests are just two ingredients that only the poor eat. Manceron is discharged from Chamfort’s service and moves into his own family home. Depressed, Manceron has lost his sense of taste and his passion for life until a woman (Isabelle Carré) stands at his door who knows his reputation and begs to learn to cook by his side. When Manceron regains his former enjoyment of culinary art, they breathe new life into the family house. Besnard examines the societal conditions that sparked the revolution through food, fine dining, and especially access to them that once only the rich had, and envisions how a taste of culinary fantasy affected the working poor of this time. While Delicious isn’t a truly factual historical film, Besnard is a meticulous researcher for his films, and he has worked from a factual event, creating the first restaurant as we know it, a place that serves well-prepared meals, that any person who has the money to pay them, regardless of class or status, can come and enjoy. “Originally I didn’t want to make a film about food at all, I wanted to make a film about the French Revolution, about the Age of Enlightenment,” says Besnard. He explains that while reading, he noticed a single sentence about the origins of the first restaurant and that the narrative of the film caught his imagination. “I didn’t know that this was an invention of the 18th. Subjectivity for everyone, for everyone to have the right to try something was definitely something new.” As Besnard explains, cooking is representative of the freedom that lies behind the French revolutionary ethos. “What I love about cooking is the fact that anyone can try it,” he says, “because it doesn’t have to be expensive to do something good, but it has to take time and invest a lot of time in it . “In the character of Manceron Besnard builds a bear of a man with the soul of a poet, the poetry that is expressed in the kitchen. In collaboration with the cameraman Jean-Marie Dreujou, Besnard’s camera lingers on the process of the cook in the kitchen: cutting, roasting and working with ingredients. He was advised by the culinary historians Thierry Charrier and Jean-Charles Karmann to use authentic ingredients and preparation techniques of the time use. His scenes are separated by beautifully lit tableaus of prepared dishes waiting to be served or ingredients waiting to be cooked, cinematic versions of the still life paintings on museum and art gallery walls. “Those scenes weren’t in the script,” says Besnard, “but I didn’t have a lot of money to shoot some of the things I wanted. Every object is a symbol, so I figured I’d take a single tag and put it as a picture to create. If you stop the film and analyze every object on the table, it has meaning. ”As Besnard demonstrates in the film, food was turned into a weapon by the aristocracy. “At that time the aristocratic class no longer had a political role because of the absolute monarchy, it had almost no military role, it had to exist somehow, and so they feasted, they had the hunt.” They wanted to impress and with the eyes and this story is about a man who becomes an artist because he suggests something, he creates something new. “Besnard suggests that this teaching of new ideas and eye candy is the same culinary artistic spark that we find in ours today Lets your favorite chefs fall in love on the 35mm TV. Delicious is now coming to cinemas.

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