Set in 18th-century Paris, “Chevalier” begins with a flourish. In a concert hall in pre-revolutionary France, a man makes a beeline toward the virtuoso conducting a string orchestra to the rapt delight of his audience. The interloper’s back and his white wig give nothing away of his countenance. Cue the collective gasp when this man is revealed to be Black and suggests that the two play a piece together.
The duo’s dueling fiddles will deliver a new star and prompt the hot-under-his-ruffled-collar violinist Wolfgang Amadeus Mozart to ask, “Who the [expletive] is that?”
This will not be the only intentionally discordant gesture in “Chevalier” — based on the story of Joseph Bologne, the Chevalier de Saint-Georges — but it is the boldest in a film that bows to “Bridgerton,” while lacing its intrigue with contemporary racial-cultural wounds.
The real Chevalier de Saint-Georges looks commanding and impossibly handsome in a rare portrait from the era. And the actor Kelvin Harrison Jr. matches that beauty. He also makes believable Bologne’s celebrated vigor and grace. Harrison’s most recent roles have been in a trio of films — “Waves,” “Monster,” “Luce” — notable for featuring young men who are often as troubling as they are troubled. Here the actor brings swagger and hints of hubris to the slightly more mature Frenchman.
Born on the island of Guadeloupe, Joseph Bologne was the son of an enslaved Senegalese woman and a French plantation owner. He was, for a spell, an incandescent figure in Marie Antoinette’s court and later, after a change of allegiance, a military leader during the revolution. Outlier and insider, he’s a figure ripe for reclamation. That this movie — directed by the Canadian filmmaker Stephen Williams and written by Stefani Robinson — leans too mightily on romance to the detriment of exploring more fully his genius feels like a missed opportunity.
Joseph’s father’s parting words as he leaves his young son at an elite school will become Joseph’s raison d’être as he excels in music, fencing and pretty much anything else he takes on: “Joseph you must be excellent, always excellent. No one can tear down an excellent Frenchman.” As the movie unfolds, that final assertion will require a qualification — namely, unless that Frenchman is Black — but the drive it instills in Joseph also resonates with the current celebration of Black excellence in the United States.
In “Chevalier,” colonialism and paternalism have roles in shaping Bologne. But it’s his relationship with four women that proves crucial: his royal ally, Queen Marie Antoinette (Lucy Boynton); his enemy, the opera singer La Guimard (Minnie Driver); his muse and romantic consort, the Marquise de Montalembert, Marie-Josephine (Samara Weaving); and his mother, Nanon (Ronke Adekoluejo).
Driver has wicked fun as the diva who throws her support behind the composer Christoph Willibald Gluck when the position as head of the Paris Opera opens. It is a post Joseph wants and feels he deserves. Whether he gets it is one of the movie’s central tensions.
Adekoluẹjo brings a cultural shrewdness to Nanon, who arrives from the Caribbean shortly after the death of Joseph’s father. Their mother-and-man-child reunion is teary but also pointed and will usher in a slow dawning in Joseph’s understanding of his Blackness. Joseph has grown accustomed to operating at the top of his game among Paris’s elite. But as Nanon knows, the rules of the game are rigged.
Chevalier
Rated PG-13 for thematic content, some strong language, boudoir scenes and violence. Running time: 1 hour 47 minutes. In theaters.
Lisa Kennedy
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