Watch Vatel Online
avril 15th, 2010 by carly2018885 |
Watch 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 benefit 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 astronomical event, for which the King, his Queen, and a substantial coterie of sycophants will tumble 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 current “lady-in-waiting”. (”Waiting for what? ” would be an obtuse request.) 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 develop. 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 acquire his boss spy beneficial 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 fragment. 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. Spy it for the truly exceptional art direction. Inspect it for the performances of Depardieu and Roth. Search For it because Thurman gives what may be her best performance yet. Search For it to buy a prance attend to the Golden Age of France, without Musketeers. Observe it simply because of the movie magic of watching some of the most attractive food known being created. However, this is not some Martha Stewart field promenade to the seventeenth century .
For all the mighty spectacle Vatel presents, it is really a fabulous character stare, layered over a profound narrative 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 peaceful, it doesn’t go all preachy, preferring to let the narrative to swear for itself.
The critics panned it - but by and tremendous they didn’t win it. They complained about Depardieu’s accent (umm, he’s like…French! Duh…), which doesn’t bag in the design 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 uncommon 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 bulky extinct Depardieu” criticism - doubtless formed by critics who haven’t got distinguished 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 recall critics too seriously? I can’t wait to scrutinize it again.
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