the leading man is my tpye

Save your money for something good and enjoyable

A very feeble attempt at affirmatie action

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

James Thierrée took the show for me followed neck and neck by Omar Sy. What a tribute of excellent acting! I found the movie totally fascinating, having no idea about these lives and events and how they were both, in their own way, totally ground breaking performers.Unlike one review, I reveled in the depth of the story. I found the solid mix of racial issues, the rise of their fame and brilliance, the whole patina that made up parts of this time in their lives made for excellent viewing for anyone with something of a thinking mind.Just a wonderful movie with standout brilliant acting. I was surprised and enthralled.

Films about racism come in a variety of genres and styles. Most are essays in conflict and hardship so it is unusual to find one that is based on circus clowns and laughter. The traditional circus was a mirror of the race and class structures of society and audience response reflected social values. This theme overarches the delightful French film Chocolat (2016) that is based on the true story of the first black-skinned circus entertainer in 19th century Paris.A brief note on the history of clowns might help to see the deeper layers of this film. Dating to Greek and Roman theatre, the popularity of the clown's low-class buffoonery reflects the human need to occasionally step outside of the norms of society. Their costumes and personality codes vary widely from the European harlequin jester or comical fool to the American down-and-out hobo caricature. Traditional circus clowns perform slapstick comedy in pairs: the white-faced clown is the instigator of gags, the red-faced (or Auguste) clown is the victim or fall-guy. With centuries of tradition behind them, it was a cultural shock for French circus audiences to see a black-faced Auguste clown for the first time and terrifying to know that it was not black makeup.It is 1886 and the tired-looking Circus Delvaux is auditioning for acts to restore its fortunes. White clown George Foottit (James Thiérrée) is struggling to find work until he teams up with a former Cuban-negro slave with the stage name of Chocolat (Omar Sy). They quickly become a sensational duo, and the Delvaux circus prospers as crowds flock to see George kick, slap, and humiliate Chocolat. As their fame grows, Chocolat becomes the star celebrity and flaunts his success with flamboyant clothes, expensive car, gambling and substance abuse. Over time, Chocolat grows resentful of the racist taunts and abandons George for a career as a Shakespearean actor. Despite a credible performance as Othello, French audiences cannot accept a black person in serious theatre. With growing gambling debts and ill health, Chocolat ends his career in sadness and despair.There are so many engaging layers in this film. Both co-stars are brilliant in their roles and the detailed period sets exude authenticity. The behind-the-tent circus life is full of unusual and interesting humanity living in convoys of small caravans that move entertainers from town to town. From the perspective of the modern screen-reliant world, it is charming to see the physicality and humour of the lost art of circus slapstick comedy. While today's social conscience finds the blunt racism of a past era repulsive, this film reminds us of the ever-presence of race as a social divider. The appearance of black skin no longer shocks anyone but black talent is still the 'Auguste' in contemporary cinema.This multi-layered film has a nuanced mix of humorous entertainment, historical insight and contemporary relevance. While funny faces, staring eyes, and goofy slapstick struggles to draw loud laughter today, the dark message of Chocolat lies in its portrait of racism masked as humour.

We should care about performers for what they do, not for who they are and certainly not for who their family is, but I couldn't help it. I went to see CHOCOLAT because the actor playing second lead is Charlie Chaplin's grandson. And even if I'd been expecting Charlie Chaplin's reincarnation, I wouldn't have been disappointed. As the movie introduces his character, he does a tour-de-force of solo clowning that's jaw-dropping. Later on, the movie focuses rather more on the title character as he and the second lead make a revolutionary pairing of the white clown and the Auguste in the same act. We don't quite get an explanation of what the traditional white clown and the traditional Auguste are, but we do get a vivid, picturesque depiction of 19th- century France and a pretty strong story line.

I just saw this movie in the theater in France and I had very high hopes for it. Although there were many positive aspects to this film, the main ones being the wonderful Omar Sy and James Thierree, I believe the film should have had more magic. However, movie tries to do to many things at the same time - a biopic, a historical film, an activist film, a friendship film.. - and the result is messy. I would have liked to see more of the relationship between the two main protagonists. Why did they become friends ? What were there struggles ? How did they work on their acts ? It is true that the movie gives some glimpses of those things, but never quite enough. This is a problem because I did not feel emotionally involved in scenes such as the one in which Chocolat and Footit find out they are going to Paris to pursue their career. I should have been. Even more so during the last scene of the movie. Only by then I was looking at my watch because the movie had been dragging a little too long. That being said, it is a worth seeing for its main actors. I give it 7/10 because of them.