
FOR TWO HOURS AND 14 MINUTES, the French movie The Taste of Things observes the preparation and eating of something like nine dishes.
The setting is a provincial chateau in the year 1885, and the focus is gourmet Dodin Bouffant and his cook, Eugenie – played by two considerable actors (and former partners), Benoît Magimel and Juliette Binoche.
Negative reviewers react against privilege and indulgence. The first kitchen scene of 40 minutes introduces an “extremely boring movie showing pots and pans and cooking complicated French recipes” (online comment). Some of the audience walk out.
It’s not perfect – I was mildly irritated by characters informing the audience by telling each other things they would surely already know. Some occurrences seem random – why introduce “electroculture” garden antennae?
Yet the movie is far more than foodie excess or cooking show. The great majority of reviewers are positive. What’s going on?
Musical clue
A clue comes from the absence of music – only used over the credits. Mind you, the Boston Globe reviewer was so seduced, he heard “a romantic score”, though conceding “everything you need to know is conveyed in actors’ eyes.”
The soundtrack relies on clink, clunk, chop, bubble, sizzle, footsteps, birds out the door and window, and occasional words, sometimes among Eugenie, Dodin and helper, as they move between garden, stoves and benches, and among Dodin’s select group of male gourmets, who love the cooking, and the host’s cellar.
“I never before had to direct a film with as much substantiality,” writer/director Trần Anh Hùng answered an interviewer.* “All that material reality is so compellingly expressive, it firmly anchors our characters in daily life. Music would have undermined that.”
Hùng normally likes music, he said, but here it would “bring something that is a little bit fabricated… I wanted it to be very real.”
(Please note, all you restaurateurs who think loud music and noise denote a good time.)
Materialist film-making
Instead of music instructing viewers how to feel, they form their own interpretations. Similarly, Hùng chose long takes, he said, as a way to slow down the pace and give the audience the chance to be a kind of writer, gaining “time to formulate several things” in their mind.
I describe the approach as materialistic, in that the movie carefully shows what’s actually happening at the physical level, among intimates. Emotions arise from mundane cooperation.
“Everything that you see on the screen is real, and everything that we cook for the film, we ate it. Absolutely everything,” Hùng said. He was advised by Parisian chef, Pierre Gagnaire, and the actors were assisted on-set by Gagnaire’s retired colleague, Michel Nave.
“For the crew, it was unusual, because they have done some movies with food. Most of the time it’s fake. To make it very beautiful, you add some different things in it to make it have different texture, color, everything. But here, for this movie, I didn’t want that. Because it’s not about the beauty of the food. But it’s more about showing man and woman at work in that kind of harmony.”
He told the crew the long opening cooking sequence was “my car chase scene”.
Hùng’s wife, Trần Nữ Yên Khê, an actor and this movie’s art director and costume designer, explained the need to just get the setting “right”, and leave the beauty to emerge. “Try to do something beautiful, and it comes across as decorative.”
Happiness
The movie sounds and looks beautiful, allows time for reflection, and so what is it “about”? The Taste of Things gets to the core of cooking and enjoying meals. Hùng extolls Brillat-Savarin, as does my chapter, “Brillat-Savarin’s quest for table-pleasure” in Meals Matter (2020).
Homeliness was suggested by the working title, Pot au Feu (changed in the French to Le Passion de Dodin Bouffant, after the Marcel Rouff novel on which the film is loosely based). Domestic bliss in some present-day kitchen might well have become boring, but French protagonists at the time of Escoffier could believably be immersed in good cooking.
Hùng wanted to “explore something rare in the cinema: conjugality. And even rarer when it works.” With kitchen movements choreographed like a ballet, he sought to show “harmony”.
The 20-year relationship of well-to-do gourmet and cook has confused some movie-goers, particularly since it really doesn’t develop. But the pair are contented with their lives, and Dodin is presumably not surprised when Eugenie refuses proposals of marriage. She only leaves her bedroom door unlocked when she chooses. She gains them the perfect daughter through other means.
The Taste of Things does move steadily towards inevitable sadness, but never with the forced highs and lows of an action movie or even romantic comedy, let alone “reality” tv.
Harmony without drama marks this movie out as beautifully unconventional. Nonetheless, it has a strong motive to show “merely” cooking, eating and companionship, even if that passes. It’s about happiness.
—
*Interview quotes from Santa Barbara International Film Festival, https://youtu.be/YN5Vy_3a5Ds, and from Gaumont publicity, https://www.perthfestival.com.au/media/h3kd4qcm/the-taste-of-things-press-kit.pdf.)




SOMETHING WAS revealed about my choice of restaurants, or my friend’s, the other day, when he said he was unfamiliar with “natural wines”.