Director: Lasse Hallstrom
Writers: Steven Knight (screenplay), Richard C. Morais (novel)
Stars: Helen Mirren, Om Puri, Manish Dayal, Charlotte Le Bon
Release date: September 5th, 2014
Distributors: Walt Disney Studios Motion Pictures, Dreamworks Pictures, Harpo Films
Running time: 122 minutes
Best part: The pristine cinematography.
Worst part: The laboured pace.
In The Hundred-Foot Journey – Hollywood’s Richard C. Morais adaptation idea turned passion project – one scene illuminates everything wrong with modern filmmaking. This particular scene, fuelled by clichéd dialogue and irritating character traits, points to the rotten core festering the dramedy rulebook (or, in this case, cookbook). In this scene, snooty restaurateur Madame Mallory (Helen Mirren) asks her new trainee chef: “Why change a recipe that is 200 years old?”. The chef then responds by saying: “Maybe 200 years is long enough”.
Here’s The Hundred-Foot Journey‘s greatest stumbling block – it wants to have its cake and eat it too. This bitter slice of irony, served up by the flawed execution, points to a common issue. Filmmaking, like cooking, relies on the script (recipe) and the director guiding its journey (chef). The recipe for Tinseltown success almost never delivers 100% results. It’s a sad truth, but this cumbersome dramedy is a prime example of quantity over quality. Before I continue, I must introduce the aforementioned game-changing chef. This key player is Hassan Haji (Manish Dayal). Despite the pitiful marketing campaign, the narrative revolves around his life story. Telling his version of events to a frustrated customs officer, Hassan recalls the tale of his family’s search of a better life. After shifting through Rotterdam and London, the Kadam family – lead by spirited patriarch “Papa” (Om Puri) – crosses into the alluring vistas of France. Braking down in an unnamed french Village, the Kadam’s find solace within their surroundings. Buying a property opposite Mallory’s esteemed venue, Papa battles Mallory for the locals’ hearts and minds. Fighting for critical and commercial glory, Mallory, her chefs, and the Kadams might just learn from one another.
Obviously, The Hundred-Foot Journey is not your average Hollywood release. Designed for counter-programming, the movie aims at middle-aged and elderly crowds. Despite the commendable intentions, the movie ends up becoming crazy-cat-lady chow. Re-heating one of modern literature’s most tiresome plots, this foodie flick talks down to its target demographic. Despite the harmless allure, the movie pours a bucket of salt into its efficiently crafted premise. Obliterating everything of merit, its ethical and moral obstacles hit like a chilli-induced heat wave. This is 2014’s second big-budget charmer – after sports-drama Million Dollar Arm – to insult India’s people. Disinterested in cultural fusion, this globe-trotting romp sullies the country’s spirituality. Presenting a near-laughable version of India, the stereotypes and clichés come thick and fast. As the bright colours and spices fly, the Indian characters are given wholly uninspired arcs. The familial drama, copied and pasted from Bend it Like Beckham, follows a borderline offensive formula. Blame rests with distribution giant Disney for painting everything with broad strokes. Avoiding substance, this production – flip-flopping between familial quarrels, slapstick gags, racial tensions, and twee romances – never crafts drama, stakes, or thrills. Thanks to Steven Knight(Eastern Promises, Locke)’s by-the-numbers screenplay, this broad distraction delivers telegraphed moments, contrivances, underdeveloped sub-plots, and unintentionally laughable dialogue. Lacking charm or elegance, this comfort-food-like effort leaves a bad taste long after the credits roll.
“If your food is anything like your music, then I suggest you tone it down.” (Madame Mallory (Helen Hirren), The Hundred-Foot Journey).
Further hampering such turgid and predictable material, director Lasse Hallstrom (What’s Eating Gilbert Grape, Chocolat) fails to cook up a storm. Known for Nicholas Sparks adaptations including Dear John and Safe Haven, the Swedish director’s exhaustive storytelling tropes aim to please. Following Chocolat‘s appealing recipe, Hallstrom’s melodrama and monotonous pacing blanche this appealing concept. Here, the Sparksian sub-plots, structure, and revelations overwhelm the product. With Steven Spielberg and Oprah Winfrey stepping producing, the movie makes for a note-worthy case against the studio system. In typical Oprah’s Book Club fashion, this romp delivers sap without balance. However, like with Hallstrom’s earlier works, his visual style elevates the poor material. A. R. Rahman’s score, though resting on familiarity, delivers gut punches at proper moments. In addition, newcomer Linus Sandgren’s cinematography – turning the most plain situations into wondrous moments – heightens each shot, setting, and serving. Graciously, the movie’s prestigious cast dives into this multi-course meal. Dayal, following in Dev Patel and Suraj Sharma’s footsteps, delivers a passionate performers as the plucky lead. Despite an undercooked romance with fellow chef Marguerite (Charlotte Le Bon), his enthusiastic aura saves certain sequences. In addition, the Hollywood legend/Bollywood pairing works wonders. Mirren and Puri infuse joy, energy, and vigour into their characters’ misguided adventures.
Some advice for those seeing The Hundred-Foot Journey: don’t go in on an empty stomach! By the power of curry and duck a l’orange, the movie might just birth Indian and French fusion dishes. Sadly, however, this archaic dramedy does little but pander to middle-aged women and bickering elderly couples. Somehow, hampering the plentiful flourishes and winning performances, a spoonful of mediocrity overpowers this banal dish. Mixing a meandering story, dated archetypes, and manipulative moments together for over two hours, this concoction has too much sugar and nowhere near enough brains or heart. Hell, chopped onions are less manipulative!