REEL CRITIC

‘Chocolat’ leaves reviewer with craving

It is fitting at this time of the year to cast away that

ever-oppressive calorie counter. Hide it in the back of a cluttered

drawer, under last year’s yellowing New Year’s resolutions. Opt for a bit

of indulgence, especially in the form of something rich and luscious --

chocolate.

Chocolate, once thought to be bad for one’s health, now has redeeming

benefits -- in moderation, of course. Chocolate is also the central

ingredient in director Lasse Hallstrom’s most recent fable, “Chocolat.”

Nestled in the beautiful rolling hills of France sits a mythical

cobblestoned village. As in a fairy tale, the village appears timeless,

unaffected by developments of the modern world. The puritanical lives of

its residents are about to be uprooted when a mysterious stranger and her

daughter arrive to open a chocolate shop: a weighty temptation during

Lent.

Adding the unusual ingredient of chili powder to her chocolates and

possessing an intrinsic ability to revitalize others, Vianne (Juliette

Binoche) entices imaginations, mends relationships and spirits, cures

ailments, and even awakens passion in stale marriages.

Viewed as a nonconformist, Vianne poses a threat, especially to Comte

de Reynaud (Alfred Molina), the pompous self-appointed mayor, who

endeavors to run her out of his austere township.

Battling immorality boycotts, Vianne befriends her cranky landlady,

played by Judi Dench, and rescues an abused wife played by Lena Olin.

It’s not until Roux, a gypsy “river rat” played by Johnny Depp, enters

Vianne’s life (an hour into the movie) that she recognizes the changes

she must make for her own growth.

Adapted from Joanne Harris’ novel by Robert Nelson Jacobs, “Chocolat”

is a lighthearted comedy with many humorous, laugh-out-loud vignettes,

but unfortunately it’s missing a few ingredients to be a satisfying,

winning recipe.

It may curb the appetite -- and definitely create cravings for Sees or

Godiva -- but it’s not a complete meal.

Hallstrom typically embraces people in all their follies and strengths

as seen in “My Life as a Dog,” “What’s Eating Gilbert Grape” and “The

Cider House Rules.”

In “Chocolat,” his embrace is fleeting, attributing to the characters’

lack of depth. A minor aspect or two is revealed when they are

superficially introduced. And then we’re rushed into the next scene.

The audience, although fond of the characters, doesn’t experience a

strong attachment and fails to embrace them.

By using once-upon-a-time narration, we expect fantasy and not

reality. When Vianne and her daughter arrive in bright red, hooded

cloaks, a sharp contrast against the village’s gray-hued backdrop, we

expect them to create pandemonium and not to conform.

“Chocolat,” when accepted as a fairy tale, imparts the belief that it

won’t be believable, and in turn that thin characterizations should be

accepted.

However, we need rich, evolving characters who we can believe in. We

anticipate that the ending will be happy, but we’d enjoy reveling in it

just the same.

Despite enjoying parts of “Chocolat,” it left me craving. Not for

seconds, but to sample something different.

The previews to “Crouching Tiger, Hidden Dragon” were enticing. Dim

sum, anyone?

“Chocolat” is rated PG-13 for a scene of sensuality and some violence.

* JULIE LOWRANCE, 40, is a Costa Mesa resident who works at a Newport

Beach advertising agency.

‘Crouching Tiger’ offers introduction to Hong Kong film

Ang Lee’s “Crouching Tiger, Hidden Dragon” has been quietly building

momentum since its premiere at the Cannes Film Festival in May. To date,

it has garnered awards from the National Board of Review, Rolling Stone,

the Los Angeles and New York Film Critics and will probably earn more

accolades with the American Film Institute and the Academy Awards

incoming weeks.

In “Crouching Tiger,” Ang Lee (“The Ice Storm,” “Sense and

Sensibility,” “Eat, Drink, Man, Woman”) has created a world where martial

arts moves are like song and dance numbers in musicals, after a certain

amount of dialogue, people break out into highly choreographed sequences

that propel the story along.

The film stars veteran Hong Kong actors Chow Yun Fat (“Hard Boiled,”

“Anna and the King”) and Michelle Yeoh (“Tomorrow Never Dies,”

“Supercop”) as warriors who have been in love for many years. However,

their personal feelings wait upon vengeance, and their attempt to

recapture the Green Destiny, a magical sword (like Excalibur) that once

belonged to Yun Fat’s Li Mu Bai’s master and has recently been sold to a

wealthy district manager.

That brings Yeoh’s Yu Shu Lien into contact with the governor’s

sheltered daughter, Jen Yu (Zhang Ziyi), who has a secret that is

essential to the plot.

The story, as in all genre films, can be simply silly at some levels.

But in the hands of Ang Lee and his collaborators, choreographer Yuen Wo

Ping (“The Matrix”) and screenwriters James Schamus, Wang Hui Ling and

Tsai Kuo Jung, the generic elements are successfully woven into a

tapestry of human emotions and action sequences, all of which highlight

the real chemistry between Yun Fat and Yeoh. There are times when you

will be watching the actions sequences but will enjoy the interaction

between all the characters.

While the film may not be the best martial arts film or Hong Kong film

ever made (rent “Peking Opera Blues,” “Once Upon a Time in China” or

“Chungking Express”), it will serve as a great introduction for the

masses who have not discovered or experienced world cinema.

* ROB OROZCO, 29, is an attorney who lives in Newport Beach with his

wife and two cats.