Chocolat is a quiet, warm film about a woman who opens a shop in a small French town and slowly changes everyone around her. Juliette Binoche plays Vianne Rocher, a single mother who moves to the village of Lansquenet-sous-Tannes in 1959 with her young daughter, Anouk. The town is strictly Catholic, and its mayor, Count Paul de Reynaud, is deeply suspicious of her arrival. What follows is a slow, deliberate story about love, acceptance, and the power of chocolate to bring people together.
Director Lasse Hallström, working from a screenplay by Robert Nelson Jacobs, draws directly from Joanne Harris’s 1999 novel. The film keeps the core structure of the book intact, even as it trims some of its more mystical elements. It is a period piece set in a small town, but its themes — prejudice, loneliness, and the quiet strength of women — feel timeless.
Trailer, via Miramax.
The Town and Its People
Lansquenet-sous-Tannes is a closed, orderly place. The townspeople follow the rules, and the mayor enforces them. Vianne does not fit in. She is a stranger, a widow, and a single mother. Her shop sells chocolate, a forbidden pleasure during Lent. That simple act sets the story in motion.
The cast is excellent across the board. Juliette Binoche carries the film with warmth and control. She plays Vianne as a woman who knows exactly who she is, even when others do not. Judi Dench appears as Armande Voizin, Vianne’s elderly landlady, and she gives the film its comic center. Their scenes together are the film’s best stretches.
Alfred Molina plays Count Paul de Reynaud, the mayor, with a controlled menace. He is the film’s antagonist, but the script never lets him become a cartoon. His objections to Vianne are rooted in his own fear and grief over his wife’s absence. Hugh O’Conor plays Father Henri, and Carrie-Anne Moss plays Caroline Clairmont, whose refusal to let her mother see her grandson drives much of the early plot.
Leslie Caron plays Mrs. Audel, a local woman who becomes a friend to Vianne. Lena Olin plays Josephine Muscat, who is being beaten by her husband, Serge. Serge is played by Peter Stormare, and his scenes are among the film’s most uncomfortable. John Wood plays Guillaume Blerot, the town’s pharmacist. The child actors, Victoire Thivisol as Anouk and Aurelien Parent Koenig as Luc Clairmont, are both strong in their roles.
Chocolate as Storytelling Tool
The chocolate itself is the film’s central device. Vianne’s shop is not just a business. It is a way of reaching out to people. She gives samples, holds tastings, and simply waits for customers to come in. Each encounter is a small story, and each story builds toward a larger one about the town’s collective repression.
The film is at its best when it lets these encounters breathe. A woman who has lost her husband comes in and finds comfort. A man who has been isolated by his neighbors finds a friend. These moments are small, but they add up. The film trusts its audience to see the change happening, rather than spelling it out.
The film also uses the town’s strict Catholicism as a backdrop. The mayor speaks out against Vianne during Lent, arguing that her chocolate tempts the people. This creates tension between tradition and desire. The film does not condemn the town’s faith outright. Instead, it shows how rigid adherence to rules can hurt individuals.
The Middle Stretch Struggles
The film’s middle stretch is where it loses some of its momentum. The story about Josephine and Serge, while necessary, drags. The abuse subplot is handled with care, but it slows the narrative down. The film spends too much time on Serge’s attempts to make amends and Josephine’s reluctance to return, when the real story is about her finding the courage to leave.
The resolution involving Serge breaking into the shop and being knocked out by Josephine feels rushed. It ends the subplot quickly, which is a relief, but it also leaves the emotional weight of the scene unresolved. The film has spent so much time building up Josephine’s fear that the sudden violence feels abrupt.
The River-Rats and the Final Act
The final stretch introduces the river-faring Romani, whom the townspeople call “river rats.” They camp near the village, and most of the townspeople object to their presence. Vianne, however, embraces them. A mutual attraction develops between her and one of them.
This plot thread adds texture to the story, showing that the town’s prejudices are not limited to outsiders like Vianne. The Romani are treated with suspicion, but Vianne sees them as people. The film uses this to broaden its scope, moving beyond a simple story about a single outsider to a story about a whole community’s prejudices.
The final act brings everything together. Vianne’s shop becomes a gathering place, and the town’s resistance to her slowly melts away. The film ends on a note of hope, with the town finally accepting her and her daughter. It is a satisfying conclusion, even if the journey there was uneven.
Where the Film Lands
Chocolat is a well-made film with a strong cast and a clear vision. It is not a great film, but it is a good one. The problem is that it is too gentle. It never raises its stakes enough to justify the length of its runtime. A tighter edit would have made it sharper.
The film’s strengths are its performances and its tone. Juliette Binoche is excellent as Vianne, and Judi Dench is perfectly cast as Armande. Their scenes together are the film’s highlights. The screenplay, by Robert Nelson Jacobs, is competent but unremarkable. It does not take risks, and it plays it safe when it could be bold.
The music, composed by Rachel Portman, is pleasant but forgettable. It supports the film without drawing attention to itself, which is the right approach. The film’s production design is solid, capturing the look of a small French village in the late 1950s.
Ranking the Cast
Here is how the main performers rank in the film:
- Juliette Binoche as Vianne Rocher — the strongest performance, carrying the entire story.
- Judi Dench as Armande Voizin — a comic force and a grounding presence.
- Alfred Molina as Count Paul de Reynaud — a controlled antagonist who anchors the conflict.
- Lena Olin as Josephine Muscat — a compelling victim turned survivor.
- Peter Stormare as Serge Muscat — a frightening villain whose scenes are the film’s most uncomfortable.
- Hugh O’Conor as Father Henri — a supporting role that works within the story’s limits.
Comparing the Plot Threads
| Plot Thread | Main Character | Strength | Weakness |
|---|---|---|---|
| Vianne and Armande | Juliette Binoche, Judi Dench | Heart of the film, best scenes | Slight compared to other threads |
| Josephine and Serge | Lena Olin, Peter Stormare | Necessary for the story | Drags the middle stretch |
| The Romani | Vianne’s arc | Broadens the scope | Introduces new tension late in the film |
The Verdict
Chocolat is a film about connection, and it mostly succeeds. It is a gentle, comforting story, and it is best enjoyed that way. It is not a film that demands much of its audience, but it rewards patience.
The film’s weaknesses — a slow middle, a rushed ending, and a tendency to play it safe — keep it from greatness. But its strengths — Binoche’s performance, Dench’s comic timing, and a warm, human story — make it a worthwhile watch.
Chocolat is a film about the power of kindness, and it believes in that power completely. That belief is its greatest strength, even when the execution falters.
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