The Taste of Others
Is there room in this world for the ‘well-made’ film? The French film “The Taste of Others,” like
a wonderful novel, is a seamlessly crafted work of warm observation and witty
moments. Without tricks or gimmicks or
stylistic flourishes it sweeps us up into its world, opening us to the
deliciously observed lives of its very real people. Set in Rouen, it’s the story of a successful businessman, M.
Castella (Jean-Pierre Bacri, who cowrote the script with his wife Agnès Jaoui,
who also directed). Castella is the
kind of well-meaning boor who makes homophobic jokes to an obviously gay man,
who has never heard poetry spoken on stage (a performance of a Racine play
induces a crush on Clara, the leading actress.
In fact he hires her to give him English lessons so that he might see
more of her.)
Clara (Anne Alvaro), at forty caught in the throes of insecurity about
her acting career, hangs out at the bar of Manie (Jaoui in an enchanting
performance), who has always made and left a series of casual relationships,
and who also sells marijuana for some extra money. Manie in turn is attracted to Moreno, Castella’s bodyguard, who
is as casual as she about commitment.
Castella is saddled with his controlling wife Angelique and her dog
Flucky – one of the great dog names of all time – and the film, more or less,
is the story of how he comes to stand up for himself; or rather for the best of
himself. The story is told with
delicacy and wit, and leaves no one out.
We are as interested in Manie and Clara and Moreno – and a few others –
as we are in Castella.
The film is charming, which I mean as a compliment, and is enriched
because it has the underpinning of a script that lets us come to know its
people at the same time as they come to know themselves. It pulls together the softly braided strands
of lives that touch each other in newly fresh ways, and lets us experience
those moments along with the people on screen.
This is Jaoui’s first film as director, though she has a career as
actress, playwright and screenwriter, and she handles her cast and camera with
unobtrusive skill. The film was
France’s official entry this year for a Best Foreign Film Oscar (it lost to
“Crouching Tiger”).