Streaming Vatel Online
Mardi, juillet 6th, 2010 |
Streaming Vatel Online.
Movie Title: Vatel Vatel is available for streaming or downloading. |
It’s 1671, and the King of France, Louis XIV, is looking for a general to carry war to the insufferably insolent Dutch. One of his nobles, the Prince de Condé, wants the job, thinking such royal favor will befriend his chronic impoverishment. The Prince’s strategy to entice the sovereign’s attention is … well, to throw a lavish party, of course. VATEL is Condé’s master of the kitchen and entertainment planner for the sizable event, for which the King, his Queen, and a mountainous coterie of sycophants will topple upon the Prince’s country estate to be lavishly fed, housed, and amused for several days. The expense and bother of it all will be staggering.
Gérard Depardieu, Julian Sands and Julian Glover play the roles of VATEL, Louis XIV and Condé respectively. Additionally, Uma Thurman plays Anne de Montausier, the King’s accepted “lady-in-waiting”. (”Waiting for what? ” would be an obtuse ask.) And, Tim Roth has the role of the creepy Marquis de Lauzan, one of the monarch’s carousing buddies.
The best elements of this outstanding film are the opulent costuming and production construct. Indeed, the culmination to the King’s entertainment is a sensational “live event” that is itself an eye-popping spectacle within a spectacle. Depardieu, relatively unknown to American audiences, gives a bravura performance as the over-worked, hard-pressed and self-sacrificing major domo struggling to construct his boss glimpse pleasant on a shoestring budget. (His contribution to the alleviation of Condé’s gout is particularly heart wrenching.) Roth, in a style he does so well, is exquisitely slimy as the villainous Marquis. Thurman is fetching as a young woman not yet too debased to not want something better out of her life.
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In my thought, VATEL should have won an Academy Award for art direction if nothing else. Visually, it’s a truly sumptuous allotment. The viewer will leave the screening disgusted at the extravagant excesses of past royalty, but certainly impressed with the flash of their presentation.
See Vatel. Gawk it for the truly exceptional art direction. View it for the performances of Depardieu and Roth. Eye it because Thurman gives what may be her best performance yet. Glance it to buy a hurry relieve to the Golden Age of France, without Musketeers. Peer it simply because of the movie magic of watching some of the most glowing food known being created. However, this is not some Martha Stewart field dawdle to the seventeenth century .
For all the worthy spectacle Vatel presents, it is really a astonishing character examine, layered over a profound sage of the stresses and dangers of living in a society obsessed with material excess and impossibly complex social codes. Sound familiar? Louis XIV carefully kept an entire social class deliberately distracted by the pursuit of pleasure and prestige in order to politically neutralize them. Considering that we are in the throes of a similar, though far more widespread social regression, the points of notion explored in Vatel are relevant beyond what is usually found in a costume drama. Better detached, it doesn’t go all preachy, preferring to let the memoir to scream for itself.
The critics panned it - but by and great they didn’t regain it. They complained about Depardieu’s accent (umm, he’s like…French! Duh…), which doesn’t gain in the scheme of the emotion of his performance unless the viewer is either narrow minded or hard of hearing. Since France has many regions and the social classes had different accents, it makes a outlandish kind of sense that his speech should be different from the Aristocrats. Then there’s the irritating “a babe like Thurman would never go for burly worn Depardieu” criticism - doubtless formed by critics who haven’t got grand experience of life. Others complained about the extravagance of the production overall. I suspect the same critics would complain about the lack of social realism in The Wizard of Oz.
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Did I mention that Vatel reminds me why I try not to choose critics too seriously? I can’t wait to study it again.
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