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The Hundred-Foot Journey

2014, Comedy/Drama, 2h 2m

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Critics Consensus

Director Lasse Hallström does lovely work and Helen Mirren is always worth watching, but The Hundred-Foot Journey travels predictable ground already covered by countless feel-good dramedies. Read critic reviews

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The hundred-foot journey videos, the hundred-foot journey photos.

Hassan Kadam (Manish Dayal) is an extraordinarily talented and largely self-taught culinary novice. When he and his family are displaced from their native India and settle in a quaint French village, they decide to open an Indian eatery. However, Madame Mallory (Helen Mirren), the proprietress of an acclaimed restaurant just 100 feet away, strongly objects. War erupts between the two establishments, until Mallory recognizes Kadam's impressive epicurean gifts and takes him under her wing.

Rating: PG (Language|Brief Sensuality|Some Violence|Thematic Elements)

Genre: Comedy, Drama

Original Language: English

Director: Lasse Hallström

Producer: Steven Spielberg , Oprah Winfrey , Juliet Blake

Writer: Steven Knight

Release Date (Theaters): Aug 8, 2014 wide

Release Date (Streaming): Nov 22, 2015

Box Office (Gross USA): $54.2M

Runtime: 2h 2m

Distributor: Walt Disney

Production Co: Amblin Entertainment, Harpo Films

Sound Mix: Datasat, Dolby Digital

Cast & Crew

Helen Mirren

Madame Mallory

Manish Dayal

Hassan Kadam

Charlotte Le Bon

Farzana Dua Elahe

Dillon Mitra

Aria Pandya

Michel Blanc

Clément Sibony

Jean-Pierre

Vincent Elbaz

Juhi Chawla

Alban Aumard

Shuna Lemoine

Mayor's Wife

Antoine Blanquefort

Lasse Hallström

Steven Knight

Screenwriter

Steven Spielberg

Oprah Winfrey

Juliet Blake

Caroline Hewitt

Executive Producer

Carla Gardini

Jonathan King

Linus Sandgren

Cinematographer

Andrew Mondshein

Film Editing

David Gropman

Production Design

A.R. Rahman

Original Music

Pierre-Yves Gayraud

Costume Design

Karen Schulz Gropman

Supervising Art Direction

Alain Guffroy

Art Director

Sabine Delouvrier

Set Decoration

News & Interviews for The Hundred-Foot Journey

Parental Guidance: Still Alice , Plus Dawn of the Planet of the Apes on DVD

New on DVD & Blu-Ray: Dawn of the Planet of the Apes , The Hundred-Foot Journey , and More

Video: Dame Helen Mirren Wants You to Get Some

Critic Reviews for The Hundred-Foot Journey

Audience reviews for the hundred-foot journey.

It's apparently become a running joke now that I end up writing reviews later and later, as it's now 9:24 pm Of course, I also haven't had dinner yet, so it rules to be me, I guess. Anyway, I think it should be known, for the record, that I am an awful cook. Or at least I think I am, since I'm the only one who has eaten my cooking thus far. Sometimes there are moments when I look at a particularly skilled chef working their magic and I think to myself that I wish I could do that. I suppose you might say that I could take classes but, realistically speaking, one is born with that. Might sound like a cliched thing to say, but I feel that it's true in this case. Also, and this might sound ignorant, but I find food criticism to be a bit snobbish. I'm not saying that food critics' opinions are invalid, but it's just a profession that I do not understand. Obviously, there's a stereotype associated with a food critic that might not always reflect the reality, but, as a whole, I don't know what the point is of reviewing food. I suppose you could make the argument that it serves to promote great meals and restaurants, but what's great to one person might be shit to me. The difference between food criticism and, say, film criticism is that, at the very least, you can come to learn to trust someone's opinion on a movie. Maybe your tastes align or whatever, so you can seek them out knowing that the reviewers' thoughts might match your own. You don't necessarily have that in food criticism because, again, it involves literal taste. It's so much easier to enjoy a movie that a critic you followed enjoy than it is to enjoy a meal that a food critic you follow loves. I don't know how to explain this, but it makes perfect sense in my mind. So fuck you and the horse you rode in on. Anyway, the reason I bring this up is that, in part, this film deals with Madam Mallory's restaurant's search for their second Michelin Star. This Michelin Star thing is a bit of a guide book that tells you which restaurants you should visit based on their star rating. There are three stars, one is very good, two is phenomenal and three, well, you are basically one of the greats. Mallory has been eagerly anticipating their second star year after year for 30 years at the time of the film's events. This is where Hassan, his father and the rest of his family come in. They open a restaurant across the street from Mallory's restaurant, hence the title, after leaving India (losing everything they had in a fire, including the matriarch) to start anew in Europe. Their car breaks down in this village and Hassan's father comes across the property that is being sold. Of course, he buys it and they start their own restaurant. A lot of the movie is the obvious culture clash, where the stuffier and uptight Mallory has to deal with the more lively, (sometimes) louder and spicier Indians living 100-feet from her. Naturally, they also feud. Mallory takes a look at her competition's menu and proceeds to buy all the ingredients at the local market just to fuck with them. It's all the typical stuff you would expect. Hassan falls for Marguerite, who works for Mallory's restaurant as a sous chef, I think. Of course, though, not everything is so pleasant. Hassan's arrival with his family ruffles some feathers among the racists in Mallory's kitchen, who proceed (with a group of friends of his) to torch Hassan's family's restaurant. Here's the thing, I get why they did it, but it felt so forced and heavy-handed. For how pleasant the rest of the movie is, this racism shit just didn't really fit in with the rest of the movie. I suppose it was necessary in that this is what brings Mallory close to Hassan and his family. It's what ends their rivalry and allows Mallory to see Hassan as a potential chef for her restaurant instead of her competition. But, to be completely honest, this could have been done in an entirely different way. Racism is still alive and well (and this was a movie released in 2014), but I do not like the way how the movie handled it here. Again, it just doesn't fit thematically with the rest of the movie. Mallory, eventually, hires Hassan to work for her at her restaurant, which puts him at odds with Marguerite since, essentially, they're both 'fighting' for the same position as top chef. Eventually, though, Hassan's excellent cooking gets Mallory's restaurant the second star she's waited for for three decades. This, apparently, is a really big deal as Hassan becomes an overnight sensation. He's getting offers from major restaurants and he proceeds to take one of them. Of course, working in a major restaurant lacks the passion and the love for him that cooking for a 'smaller' place brought to him. Here's the thing, and I don't know if this is an actual thing, but I find this idea of Hassan becoming a celebrity because of his Michelin stars to be a little exaggerated. I mean, I'm certain that there's some fame associated with that, but it's also fame that's known to a very niche group of people. I don't think most people would really care one way or the other honestly. So this idea that Hassan is now a major celebrity because of this was difficult for me to buy. Name me a famous chef that's not Wolfgang Puck and Emeril. Go on, I'll wait. That's not to diminish the work of chefs who have managed to earn these stars, but I don't think one becomes a major celebrity ala, I don't know, Sandra Bullock because of that. Maybe it's just me. But, of course, all of this is set-up so Hassan eventually gets tired of working in a restaurant that has drained his passion and creativity to return to a smaller place where he can feel passionate about what he loves once more. It's basic, simple stuff. I'll be honest, though, I definitely enjoyed this movie. I wasn't a fan of the racist stuff, not because it shouldn't have been done, but just how it felt in contrast to everything else. Hassan's fame was also difficult for me to buy, but this was still an enjoyable enough movie. Helen Mirren is great, as always. And the rest of the cast is really solid all around. The storytelling is definitely predictable, but, again, I think the movie's tone and pacing definitely helped out a lot. The characters are likable and you want to see them do well or well enough given their circumstances. It's not a perfect movie, by any means, but I connected with its message about the importance of family, particularly with what's been going on personally. Again, to me, this is an enjoyable movie. Wouldn't give this a glowing recommendation, but if you come across this on cable TV then it's worth a watch.

I enjoyed this film about a competition between an expensive French restaurant and a bargain-brand Indian restaurant - 100 feet from each other.

Got to admit, got roped into this one. Wasn't one I would have chosen to watch. It is a good movie. The story about the Indian family moving to France and starting up a restaurant is good. Helen Mirren plays a horrible woman who works in a competing restaurant... But she comes nice by the end. There's also a bit of romance thrown in and some beautiful shots of the country, and of course, food. It did feel like an older persons movie, however. (And now I technically am an older person, it even seems too much that way for me). It's a nice movie, is what I mean. There is nothing in there that would offend or displease anyone, and thinking is optional too, although it does have its dramatic moments and a bit of tragedy too.

Not too spicy. Not too bland. Somewhat charming, but nothing special.

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Tv/streaming, collections, great movies, chaz's journal, contributors, the hundred-foot journey.

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“The Hundred-Foot Journey” is a film that demands that you take it seriously. With its feel-good themes of multicultural understanding, it is about Something Important. It even comes with the stamp of approval from titanic tastemakers Oprah Winfrey and Steven Spielberg , who both serve as producers. What more convincing could you possibly need?

There’s something familiar about the treacly and sanctimonious way this film is being packaged. It reeks of late-‘90s/early ‘00s Miramax fare: films with tasteful yet ubiquitous ad campaigns and unabashed Oscar aspirations which suggested that seeing them (and, more importantly, voting for them) would make you a better person. Films like “The Cider House Rules,” “Chocolat” and “The Shipping News.” Films by Swedish director Lasse Hallstrom.

Hallstrom just happens to be the director here, as well, and the similarities to “Chocolat” are inescapable. Stop me if think you’ve heard this one before: A family moves into a quaint but closed-minded French village and shakes things up with an enticing array of culinary delicacies. This new enterprise happens to sit across the street from a conservative and revered building that’s a town treasure. But the food in question isn’t a bon bon this time—rather, the movie is the bon bon itself.

But despite being handsomely crafted, well acted and even sufficiently enjoyable, “The Hundred-Foot Journey” is also conventional and predictable. And for a film that’s all about opening up your senses and sampling spicy, exotic tastes, this comic drama is entirely too safe and even a little bland.

What livens things up, though, is the interplay between Helen Mirren and Om Puri as battling restaurant owners operating across the street from each other—100 feet away from each other, to be exact, a short but fraught trip that various characters take for various reasons. Watching these veteran actors stoop to sabotage each other provides a consistent source of laughs. She’s all sharp angles, piercing looks and biting quips; he’s all round joviality, boisterous blasts and warmhearted optimism. The contrast between the British Oscar-winner and the Indian acting legend offers the only tension in this otherwise soft and gooey dish—that is, until the film goes all soft and gooey, too.

Mirren stars as Madame Mallory, owner of Le Saule Pleurer (The Weeping Willow), an elegant and expensive French restaurant that’s the winner of a prestigious Michelin star. But one star isn’t enough for the coldly driven Mme. Mallory—she wants another, and then another.

But her bloodless quest for gourmet grandeur is interrupted by the arrival across the street of an Indian family: the Kadams, who’ve been wandering around Europe ever since their beloved restaurant back home burned down during political rioting. When the brakes on their car malfunction on a treacherous stretch of spectacular countryside, Papa (Puri) insists it’s a sign from his late wife and decides to open a new eatery in the charming town at the bottom of the hill.

Never mind that one of the most celebrated restaurants in all of France is sitting right across the street from the empty building he rents. Never mind that they are in an insular part of the country where the residents probably don’t even know what Indian cuisine is, much less like it, as his children point out. He has faith in his food—and in his son, Hassan ( Manish Dayal ), a brilliant, young chef.

Just as Papa and Mme. Mallory strike up a sparky rivalry, Hassan enjoys a flirtatious relationship with French sous chef Marguerite ( Charlotte Le Bon , who played an early model and muse in the recent “Yves Saint Laurent” biopic). The script from Steven Wright (who also wrote the far trickier “ Locke ” from earlier this year, as well as “ Dirty Pretty Things ” and “ Eastern Promises ”) is full of such tidy parallels, as well as trite and overly simplistic proclamations about how food inspires memories. Dayal and Le Bon do look lovely together, though, and share a light, enjoyable chemistry.

Then again, it all looks lovely—both the French and Indian dishes as well as the lush, rolling surroundings, which we see through all four seasons; the work of cinematographer Linus Sandgren , who recently shot “American Hustle.” This sweetly pleasing combination of ingredients would have been perfectly suitable if the film didn’t take a wild and needless detour in the third act. That’s when it becomes an even less interesting movie than it already was, in spite of its loftier aspirations.

Christy Lemire

Christy Lemire is a longtime film critic who has written for RogerEbert.com since 2013. Before that, she was the film critic for The Associated Press for nearly 15 years and co-hosted the public television series "Ebert Presents At the Movies" opposite Ignatiy Vishnevetsky, with Roger Ebert serving as managing editor. Read her answers to our Movie Love Questionnaire here .

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Film credits.

The Hundred-Foot Journey (2014)

122 minutes

Helen Mirren as Madam Mallory

Om Puri as Papa

Manish Dayal as Hassan Haji

Charlotte Le Bon as Marguerite

Amit Shah as Mansur

Lasse Hallström
Steven Knight
Richard C. Morais

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REVIEW: Does <I>The Hundred-Foot Journey</i> Deserve One Michelin Star or Two?

REVIEW: Does The Hundred-Foot Journey Deserve One Michelin Star or Two?

W ith Steven Spielberg and Oprah Winfrey serving as producers, and a story that forges warm feelings between two generations of restaurant rivals, The Hundred-Foot Journey is on a mission to make you cry. Whether you oblige will depend on your fondness for, or immunity to, the gentler stereotypes of movie romance.

But there’s one shot that should bring tears of joy to anyone who thinks of food as something more than the stuff grabbed from a plastic bag and automatically consumed on a couch during a reality show. Early in the proceedings we are shown a plate of fresh vegetables, tomatoes mostly, that a pretty young French woman offers to weary Indian travelers. Artfully arranged and glowingly photographed, the comestibles would send moviegoers rushing avidly from the auditorium to the lobby — if the concession stand were a neighborhood stall run by Edesia, the goddess of banquets .

(SEE: TIME’s flavorfully illustrated list of the Top 8 Food Movies )

The food, traditional French cuisine or the livelier Indian masala, looks delicious: what Los Angeles Times writer Jenn Harris, in an interview with Indian-American chef Floyd Cardoz, calls a “ sumptuous buffet of gastro-porn .” Although Harris was referring to the preparations by Cardoz and other cooks of the film’s incredible edibles, Spielberg and Winfrey wouldn’t mind if viewers applied the phrase to the whole movie. They want you to swallow, in one savory sitting, their tale of colliding cultures reaching an entente cordiale. That particular buffet demands a more generous palate.

Winfrey chose Richard C. Morais’ novel for her 2010 reading list and teamed with Spielberg, who had directed her in The Color Purple nearly three decades ago, to bring the story to the screen. As director they hired Lasse Hallstrom, who specializes in upmarket sentiment and in films with food-related titles: What’s Eating Gilbert Grape , The Cider House Rules , Salmon Fishing in the Yemen . His signature food movie was Chocolat , a highly caloric confection about an outsider (Juliet Binoche) who opens a pastry shop in a French village, horrifies the locals, outrages the mayor (Albert Molina) and eventually seduces all of them with her bewitching sweets. With Johnny Depp on hand as Binoche’s roguish ally, Chocolat became Hallstrom’s biggest box-office hit.

(READ: Richard Schickel’s review of Chocolat )

In The Hundred-Foot Journey , the outsiders are Papa (Bollywood stalwart Om Puri), his son Hassan (Manish Dayal) and their family of Mumbai restaurateurs, sent packing when their establishment is torched by fanatics and Papa’s wife (the great beauty Juhi Chawla) is incinerated in the fire. The French village they wind up in is the almost obscenely picturesque Saint-Antonin-Noble-Val, in the Midi-Pyrénées, and the wavering mayor this time is Michel Blanc. The family’s most obstinate rival — Mme. Mallory, who owns the one-star restaurant 100 feet across the street from where Papa sets up his noisy Maison Mumbai — is played by Helen Mirren with her chin held high in defiance; Queen Elizabeth might think Mirren’s manner too imperious. And Hassan finds love and competition with Mme. Mallory’s sous-chef Marguerite (Charlotte Le Bon).

The journey in the novel was essentially Hassan’s. A budding genius in creating dishes both Indian and French, he hopes to rise through the gastronomic ranks and become the most innovative chef at the hottest restaurant in Paris. He is a human version of Remy the rodent in Pixar’s Ratatouille , conquering French-foodie snobbishness with his culinary inspirations. Screenwriter Steven Knight, who has scripted modern crime movies ( Eastern Promises ) and stately period pieces ( Amazing Grace ), as well as directing the Tom-Hardy-in-a-car movie Locke , makes room for the Hassan story, but promotes age — the slow-boiling friendship of Papa and Madame — over youth and beauty.

(READ: Corliss on Tom Hardy, trapped in a car, in Steven Knight’s Locke )

Mme. Mallory’s interest in Hassan, once he convinces her of his expertise, is a matter of pride. For 30 years, her restaurant, Le Saule Pleureur (The Weeping Willow), has carried an honored but equivocal one star, out of a possible three, from the Michelin guide to French cuisine. She wants that second star and thinks the gifted Hassan can help her get it. (It happens that, a couple hundred miles to the east, in Monteux, there is an actual establishment by that name. An online reviewer wrote, “This restaurant has one Michelin star and easily deserves another.”)

As Madame, Dame Helen anglicizes aspects of two revered French actresses who might have been more suitable for the role: imagine a frosty Isabelle Huppert who thaws into Catherine Deneuve. Because this is a movie aimed at Americans, Mirren must speak English in a stern, borderline-ludicrous French accent — both to Papa and Hassan, who confer with each other in Marathi and speak perfect English but perhaps not French, and to her French kitchen staff. “In English,” she says to her balky chef Jean-Pierre (Clément Sibony), “so we can all understand.” This time, the royal “we” that Mirren used in The Queen means the non-francophone audience.

(READ: How Helen Mirren reigned and triumphed in The Queen )

If the poetry of this Franco-Indian alliance gets lost in translation, the visuals sing ecstasy in any language. Cinematographer Linus Sandgren, fresh from making the actors in American Hustle look fabulously tatty, brings radiance not just to each morsel of food but also to the dewy closeups of Dayal (born in Orangeburg, S.C.) and Le Bon (from the recent bio-pic Yves Saint Laurent ) as the lovers-in-waiting. The movie revels in scenes of dappled soft-focus — you never saw so many dapples! — and punctuates the Spielberg-starry night sky with fireworks for every occasion. Though it must acknowledge Mama’s charred death, and a spate of anti-immigrant enmity (the scrawling of “French for the French” on a Maison Mumbai wall), the film is eager to seem good enough to eat.

The one moment of earned poignancy comes when Hassan goes across the street to work at Le Seule Pleureur, and Papa offers him his treasured box of Indian spices. “They have their own spices,” the young man says in the softest tones of renunciation. In a new land, the young must learn from their old-country past, use some parts and reject others, to become a success. That’s how you season the melting pot. At this moment, viewers may shrug off the glutinous manipulations of The Hundred-Foot Journey and give it a second star in the Michelin guide to comfort-food movies.

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The Hundred-Foot Journey (2014)

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A story centered around an Indian family who moves to France and opens a restaurant across the street from a Michelin-starred French restaurant.

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The Hundred-Foot Journey first look review – romance on the menu

Helen Mirren and Om Puri do their best to spice up a predictable restaurant-based culture clash

A snobby French restaurateur. An Indian chef who cooks with spices from his dead mother. A cute French waif who rides a bicycle through idyllic rural France. Young love! Old recipes! With cardamoms on top! Sounds like a Lasse Hallström movie. This one comes to us from Steven Spielberg and Oprah Winfrey, who turned Richard C Morais’s book into a bestseller. The title refers to the distance between two restaurants, but it turns out to mean so much more than that. It’s symbolic of the gulf that separates cultures, peoples, individual human hearts, and, most probably, the contractually agreed distance that had to be maintained around the parking spaces of its superstar-producers during filming.

Helen Mirren plays the forbiddingly proper Madame Mallory, owner of the hugely successful Le Saule Pleureur restaurant, in the absurdly picturesque town of Saint-Antonin-Noble-Val, where she serves immaculate portions of classical French cooking, to a clientele that includes the French president. Her nose hoists even higher in the air, when, into the abandoned restaurant on the opposite side of her quiet road, moves a boisterous family of Indian émigrés, headed by Papa Kadam (Om Puri), to set up an Indian restaurant. How they can afford it, when they have just moved out from under the flight-path at Heathrow, is something of a mystery, but up it goes, a big garish thing, with a cut-out of the Taj Mahal in front, and the name “Maison Mumbai” spelled out in huge fairy-lights, so we find it magical, but with the U on the blink, to make sure we find it quirky.

Poor India. The country was just inches from a clean getaway – Gandhi was a distant memory, Monsoon Wedding had just about blown over – and along comes Slumdog Millionaire and The Best Exotic Marigold Hotel to revive the whole sorry trope of the sitar-strumming, mystically inclined subcontinent. Naturally, Papa Kadam spends much time communing with his dead wife, whose spices are sprinkled into the dishes of his eldest son Hassan (Manish Dayal), a gifted chef and Papa’s secret weapon in the restaurant war to come. “Curry is curry is it not?” sniffs Mirren in one of several lines which cunningly alert us as to the correct direction of our sympathies. “It’s called subtlety of taste,” says Mirren after Hassan sprinkles spices on to pigeon fermier rôti aux épices douces . Boo Hiss! Down with French gastro-snobs! “It’s called meanness of spirit,” replies Papa Kadam. Yay for Indian spices and colour and fairy-lights with a single letter on the fritz!

All the food looks amazing – shot in swishy slo-mo by cinematographer Linus Sandgren, it is swept on to tables with full orchestral accompaniment – but the movie so stacks the deck against snobs, vaguely and variously defined as “anyone wishing to use a cookbook”,“French people who insist on speaking French”, and “people who don’t like loud music or curry”, that it’s hard not to feel a little sympathy for the poor, black-hearted creatures. Why shouldn’t Madame Mallory object to the blasting of bombastic Indian house music, modelled on Jai Ho, day and night? And why should she be forced to watch Hassan sprinkle cardomons into bœuf bourguignon and applaud him for the heresy?

Because this is a Lasse Hallström movie, which proceeds by a twofold movement, first the erection of quaint national stereotypes, and then their dissolution. Like pushing through wet tissue paper. The great Hallström trick – and he has followed it with increasing single-mindedness as his career has progressed, from The Cider House Rules to Salmon Fishing in the Yemen – is to suggest enough of a region of the world to seem enticing but not so pungently as to be off-putting. Thus it is that setting down in rural France, one might expect to hear everyone speaking not French, which can be bothersome, but heavily accented English, in the same way that even the Nazi officers spoke English in Where Eagles Dare. And while Hallström’s Chocolat may have put paid to the run on Hollywood made by Juliette Binoche in the late 90s, this time around Hallström bypassed the thorny question of which French actress to cast as his typically French restaurateur, by casting instead the Queen of England.

He even has Papa Kadam gaze up at her, framed in her window and say, “Look at you, standing there like some queen.” Mirren demurs, nicely, as she tends to do these days, coasting on Oscar-winning hauteur, her films now one big victory lap. Which isn’t to say it’s not a pleasure. To hear her trying out a Clouseau-esque French accent (“zey asked me to keep an eye on you for zem”), or holding up a limp asparagus and sighing, “Cuisine is not a tired old marriage, it is a passionate affair of the heart”, is to realise that the test of great stars, like dromedaries, is their ability to survive on a subsistence diet. She certainly gets very little to chew on here, although she does get one great moment, upon hearing her new Michelin ranking, of stamping her feet, girlishly, a reminder that at the tender age of 69, Mirren seems younger in spirit than most ingenues.

She’s almost too feisty: by about the halfway mark the movie is effectively over. Peace has broken out. The excitements of the chopping montage have subsided. The two restaurants are as one, and the dramatic baton passes to the love-affair-rivalry between the son, Hassan, and Marguerite (Charlotte Le Bon) the sous chef at Mallory’s restaurant, she of the doe eyes, French bob and peachy complexion. “You must find it in your heart then in your pots,” she tells him over a picnic one day, promisingly. “What is your favourite meal to cook?” Good question. “Food is memories,” he replies. “Ah yes,” she says “Food is memories …” And off they head, into the highways and byways of béchamel sauce. No saucy double entendres à la Cary Grant and Grace Kelly in To Catch a Thief (“Leg or breast?”). These two really do want to discuss menus, so it’s no surprise when Hassan ups and heads for Paris to become a celebrity chef, dressed in black and cooking jellyfish with liquid nitrogen, in what is easily the most boring stretch of the film, which by rights should have retitled itself The Slightly Longer Than Anticipated Journey, or It Looked a Lot Smaller On The Map.

“He looks like a bloody terrorist,” growls Puri, who is probably your best bet of a good time, if you are absolutely forced to see this film at gunpoint. Bulbous of nose, white of coif, gravelly of voice, Puri projects such a delicious air of gruffness and what-me? fake innocence that he threatens to flip the film into altogether more rueful and salty territory. He’s a lovely bundle of fondness and nerves as he edges up to calling Madame Mallory his “almost-girlfriend”, and is rewarded with a waltz around her chandelier-lit parlour. Those youngsters could learn a thing or two. Is he enough to shell out for this film? Almost.

The Hundred-Foot Journey is in US theatres from 8 August. It will be released in the UK on 5 September.

The Hundred-Foot Journey
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Film Review: ‘The Hundred-Foot Journey’

Lasse Hallstrom returns to 'Chocolat' territory with this overlong serving of cinematic comfort food.

By Justin Chang

Justin Chang

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Beef bourguignon or tandoori goat? Career success or family loyalty? You can actually have it all, according to “ The Hundred-Foot Journey ,” a culture-clash dramedy that presents itself as the most soothing brand of cinematic comfort food. As such, this genteel, overlong adaptation of Richard C. Morais’ 2010 novel about two rival restaurants operating in a sleepy French village is not without its pleasures — a high-energy score by A.R. Rahman, exquisite gastro-porn shot by Linus Sandgren, the winningly barbed chemistry of Helen Mirren and Om Puri — all prepared to exacting middlebrow specifications and ensured to go down as tastily and tastefully as possible. With the formidable backing of Steven Spielberg and Oprah Winfrey (who produced with Juliet Blake), the DreamWorks concoction should cater to a broad array of arthouse appetites, particularly among those viewers who embraced the similar East-meets-West fusion cuisine of “The Best Exotic Marigold Hotel.”

If this Old World foodie fairy tale feels like an odd fit for screenwriter Steven Knight — best known for his gritty London underworld thrillers, and coming off an unusually adventurous directing debut with “Locke” — it’s worth recalling that his scripts for the much edgier “Eastern Promises” and “Dirty Pretty Things” were directly concerned with the hostilities bred in and around specific immigrant communities. Still, with its cozy, crowd-pleasing temperament, the new film represents all-too-familiar territory for director Lasse Hallstrom, whose superficially similar “Chocolat” offered up a smug little parable about the triumph of sensual indulgence and liberal tolerance over stifling small-town conformity. The culture war examined in “The Hundred-Foot Journey” is a bit less one-sided: It contrasts the heat and intensity of Indian cooking with the elegance and refinement of French haute cuisine, then balances the two with a feel-good lesson in ethnic harmony.

Fleeing a tragic uprising in their native Mumbai for a more idyllic life in Europe, the Kadam family, led by their proudly outspoken Papa (Puri), decide to open an Indian restaurant in the South of France. Alas, they soon find that they have merely abandoned one war zone for another, as their scrappy new Maison Mumbai, with its open-air seating and free-wandering chickens, is soon locked in a fierce competition with the classy Michelin-starred establishment located just 100 feet across the road. That restaurant, Le Saule Pleureur, is run by the widowed Madame Mallory (Mirren), an unyielding perfectionist and proud defender of Gallic tradition whose first glimpse of her brown-skinned neighbors prompts her to sniff, “Who are zees people?”

Zees people, little does she realize, include one of the most talented young cooks in Europe. That would be our protagonist, Hassan Kadam (Manish Dayal), who soon begins a sly flirtation with Le Saule Pleureur’s beautiful sous chef, Marguerite (Charlotte Le Bon); she in turn introduces him to the venerable tradition of French cooking, which he becomes determined to master. The tension between these two characters, sexual as well as professional, is something the film keeps on a low simmer behind the more fiery confrontations between Papa and Madame Mallory, neither of whom is afraid to resort to all manner of competitive sabotage — whether it means sneakily buying up all the crayfish at the farmers market, or filing complaints with the mayor (Michel Blanc), humorously depicted as something of a gourmand himself.

Amid all this fun but childish oneupsmanship, Knight and Hallstrom gently milk all the expected stereotypes for humor and conflict: The French are snobs with their hoity-toity manners and expensive food, and they’re deeply affronted by the thrifty, tacky Indians with their colorful clothes and loud music. France’s ugly history of racial aggression and unrest, particularly relevant at the present moment, briefly punctures the film’s placid surface when local thugs attack and nearly burn down Maison Mumbai. But rather than lighting a fuse, this trauma is what begins to unite the Kadams and Madame Mallory, who soon realizes that Hassan is not only an exceptional cook, especially when armed with his family’s prized spice box, but possibly the missing ingredient that could earn Le Saule Pleureur its second Michelin star.

And so “The Hundred-Foot Journey” becomes a story in which cultural opposites not only learn to coexist, but are in fact triumphantly and even romantically reconciled. It may be set in France, but really, it could be taking place in any movie-manufactured fantasyland where enemies become the best of friends, and an embittered old shrew turns out to have a heart of gold (and, as Papa appreciatively notes, looks rather fetching beneath the glow of computer-generated Bastille Day fireworks). Morais’ novel was described by the New York Times’ Ligaya Mishan as a hybrid of “Slumdog Millionaire” and “Ratatouille,” and Hallstrom seems to have taken that Hollywood formulation to heart: Like “Slumdog,” the film is an underdog story set to the infectious backbeat of Rahman’s music (fun fact: Knight created the original British version of “Who Wants to Be a Millionaire”), and like “Ratatouille,” it brings us into an irresistible world of culinary sophistication and features gorgeous nighttime views of Paris, where Hassan eventually arrives in search of his destiny.

Where the film really overreaches is its attempt to reproduce “Ratatouille’s” glorious Proustian moment, that perfect bite of food that induces a heartbreaking recollection of childhood. This wannabe epiphany arrives deep into a draggy third act, during which the script and the handsome Dayal struggle to give Hassan some semblance of a conflicted inner life, but the character, much like his meteoric rise to the top ranks of international chefdom, remains something of a sketch. It’s the older, top-billed leads who manage the heavy lifting: Though she’s encumbered somewhat by her French accent, Mirren is superb at both projecting an air of hauteur and expressing the vulnerability beneath it, and she brings out a similar mix of pride and feeling in Puri’s Papa, an excellent sparring partner whose stubbornness and drive to succeed never come at the expense of his love for his family.

Shot on 35mm in luminous, sun-dappled tones in the French village of Saint-Antonin-Noble-Val (with some second-unit work in India), and handsomely appointed by production designer David Gropman and costume designer Pierre-Yves Gayraud, the film is also distinguished by its mouth-watering visual buffet, whether lingering on vats of steaming red curry or a perfectly plated pigeon with truffles. This is, no question, an easy picture to succumb to — perhaps too easy, if its tidy narrative symmetries and its belief in the socially redemptive power of pleasure are any indication. Scrumptious as it all is, it hurts to watch chefs so committed to excellence in a movie so content to settle for attractive mediocrity.

Reviewed at Disney Studios, Burbank, Calif., July 23, 2014. (In Locarno Film Festival — Piazza Grande.) MPAA Rating: PG. Running time: 122 MIN.

Production: A Walt Disney Studios Motion Pictures release of a DreamWorks Pictures and Reliance Entertainment presentation in association with Participant Media and Image Nation of an Amblin Entertainment/Harpo Films production. Produced by Steven Spielberg, Oprah Winfrey, Juliet Blake. Executive producers, Caroline Hewitt, Carla Gardini, Jeff Skoll, Jonathan King. Co-producers, Holly Bario, Raphael Benoliel.
Crew: Directed by Lasse Hallstrom. Screenplay, Steven Knight, based on the novel by Richard C. Morais. Camera (color, widescreen, 35mm), Linus Sandgren; editor, Andrew Mondshein; music, A.R. Rahman; music supervisor, E. Gedney Webb; production designer, David Gropman; supervising art directors, Karen Schulz Gropman, Alain Guffroy; set decorator, Sabine Delouvrier; costume designer, Pierre-Yves Gayraud; sound (Datasat/Dolby Digital), Jean-Marie Blondel; supervising sound editor, Michael Kirchberger; sound designers, Dave Paterson, Kirchberger; re-recording mixers, Michael Barry, Paterson; special effects supervisor, Philippe Hubin; special effects coordinator, Jean-Christophe Magnaud; visual effects supervisor, Brendan Taylor; visual effects producer, Mitchell Ferm; visual effects, Mavericks VFX, Mr. X, Lola VFX; stunt coordinator, Dominique Fouassier; assistant director, Mishka Cheyko; second unit camera, Hugues Espinasse; casting, Lucy Bevan.
With: Helen Mirren, Om Puri, Manish Dayal, Charlotte Le Bon, Amit Shah, Farzana Dua Elahe, Dillon Mitra, Aria Pandya, Michel Blanc. (English, French, Hindi dialogue)

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The Hundred-Foot Journey

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Dillon Mitra
Farzana Dua Elahe
Malcolm Granath

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"Lasse Hallstrom returns to 'Chocolat' territory with this overlong serving of cinematic comfort food (...) a feel-good lesson in ethnic harmony" Justin Chang : Variety
"Fans of the source best-seller and seekers of non-challenging counterprogramming to summer’s genre fare will savor the offering. But colorful locales and exotic spices can’t hide its essential blandness" Sheri Linden : The Hollywood Reporter
"'The Hundred-Foot Journey' is likely neither to pique your appetite nor to sate it, leaving you in a dyspeptic limbo" A. O. Scott : The New York Times
"A mouth-watering and charming - if overlong - romantic comedy-drama (...) Rating: ★★★ (out of four)" Lou Lumenick : New York Post
"Basically a promo reel for small-town France and Gallo-Indian food fusion. Anyone who requires a more substantial meal should eat before heading to the theater (...) Rating: ★★ (out of four)" Mark Jenkins : The Washington Post
"A pleasant if rather syrupy tale of clashing cultures (...) Rating: ★★½ (out of four)" Claudia Puig : USA Today

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The hundred-foot journey, common sense media reviewers.

Cultures clash in the kitchen in warm family drama.

A Lot or a Little?

What you will—and won't—find in this movie.

Home is wherever your family is. The film also str

Hassan is briefly seduced by fame and fortune, but

An angry mob storms a restaurant and burns it to t

Two characters share a few kisses, and in one scen

Some characters use the British exclamation "blood

Repeated mentions of the Michelin guide to French

Adults often drink wine with meals. One character

Positive Messages

Home is wherever your family is. The film also stresses the importance of accepting differences in other people, including cultures and cuisines. Love of family and cooking are prominent themes.

Positive Role Models

Hassan is briefly seduced by fame and fortune, but he eventually realizes that family is more important. A snobby woman learns that she should be more open to accepting people who have different customs.

Violence & Scariness

An angry mob storms a restaurant and burns it to the ground, leading to a sad death. Later, two men deface and try to burn down another building in the dead of night; a main character is injured as a result of the fire.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Two characters share a few kisses, and in one scene, they emerge from a back room hastily putting their clothes back on, suggesting they've shared an intimate moment.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Some characters use the British exclamation "bloody"; also a mumbled use of "s--t," plus "hell" and "oh God."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Repeated mentions of the Michelin guide to French dining and its famous star system for rating restaurants.

Drinking, Drugs & Smoking

Adults often drink wine with meals. One character is later shown drinking frequently to suggest that he's slipping into depression.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Lasse Hallstrom 's The Hundred-Food Journey follows the journey of Hassan (Manish Dayal), a young and extremely talented chef, and his/his family's culture clash with rival restaurateur Madame Mallory ( Helen Mirren ). The many mouth-watering food scenes are often accompanied by wine, and there are some scenes in which one character starts to drink a bit more heavily (to suggest depression). Two brief moments feature some violence (including one in which men throw fire bombs) -- one of which causes a sad death. There are also a few romantic kisses and suggestions of intimacy and language along the lines of "bloody." To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

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Community Reviews

Parents say (5)
Kids say (11)

Based on 5 parent reviews

Absolutely fantastic!

Excellent clean movie, what's the story.

After unrest drives them away from their native India to London, Hassan (Manish Dayal) and his family take to the road and find themselves stranded when their brakes fail in a small French town. Hassan's father decides it's just the spot to open an Indian restaurant. Directly across the street, Madame Mallory ( Helen Mirren ) runs another restaurant, one with a long, proud tradition of fine French dining -- and possessed of a famed Michelin star. She's not happy with her new neighbors and declares war on their rival eatery. Meanwhile, Hassan starts to fall for Marguerite, the sous chef in Mallory's kitchen, who teaches him the basics of French cuisine.

Is It Any Good?

Like beef bourguignon, one of the many dishes filmed so delectably in this production, THE HUNDRED-FOOT JOURNEY is a crowd-pleasing classic. The family story, told with empathy and love here, is its base; the food scenes that are odes to the art of cooking, framed through a cross-cultural prism, are its mea; and the gorgeous French countryside and melodic Indian music are its garnish. It's a delight to watch, especially because of the cast.

But, also just like beef bourguignon, it's not particularly inventive, even if the story centers around a young man's ingenuity in the kitchen. You know what you're getting. A true master chef -- as director Lasse Hallstrom has revealed himself to be in many previous turns at the helm -- would take a classic and turn it into something transcendent, adding elements that transform, rather than just substituting one ingredient (the location, perhaps) for another and hoping it feels different. Still, the film is big-hearted and filling enough -- so filling that it runs too long, actually -- to be a pleasant enough cinematic meal.

Talk to Your Kids About ...

Families can talk about bias. What does Madame Mallory think about Hassan and his family when she first meets them? Why? How do her opinions change?

Why are movies about food and cooking so appealing? How does this one compare to others you've seen?

Movie Details

In theaters : August 8, 2014
On DVD or streaming : December 2, 2014
Cast : Helen Mirren , Charlotte Le Bon , Manish Dayal , Om Puri
Director : Lasse Hallstrom
Inclusion Information : Female actors, Indian/South Asian actors
Studio : Walt Disney Studios Motion Pictures
Genre : Drama
Topics : Cooking and Baking
Run time : 122 minutes
MPAA rating : PG
MPAA explanation : thematic elements, some violence, language and brief sensuality
Last updated : June 2, 2023

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StarTribune

Ten thousand things theater's artistic director to step down.

After six years at the helm of Ten Thousand Things Theater taking first-rate shows to Minnesotans in prisons, shelters and other congregate settings, Marcela Lorca is stepping down as artistic director.

An in-demand artist known for sculpting visual poetry onstage, Lorca will spread her wings across the country with shows upcoming at San Diego's Old Globe theater, Houston's Alley Theatre and Asolo Repertory Theatre in Sarasota, Fla.

Lorca, who leaves at the year's end, also intends to spend more time with her mother, who's 90 and lives in their native Chile.

"It's sad for me to depart because I have such terrific colleagues and meaningful relationships with community and artistic partners," Lorca said. "But because TTT is very strong and stable post-pandemic, it's a good time for me to have more flexibility in my life."

Lorca took the reins of the company from founder Michelle Hensley. She led the organization "flawlessly" through what often was a fraught transition compounded by the upheavals of the coronavirus pandemic and the post-George Floyd social justice upwelling, said board chair H. Adam Harris.

"It's a testament to her skill, grace and calm that we're thriving today," Harris said. "Marcela uplifted the work that we do with her level of artistry and play, and it's a big loss for Ten Thousand Things."

At TTT, which hews to a barebones aesthetic, her theatrical highlights include the Greek tragedy "Iphigenia at Aulis," which was performed outdoors during a lull in the pandemic infections. For the last performance of the show at a farm in Wisconsin, a wild deer appeared as if on cue at the pivotal moment the messenger describes dying and vanishing, leaving a deer in her place.

Other shows, including the musicals "Thunder Knocking at the Door" and "Into the Woods," also had magical moments. Her all-female production of "Emilia," about the "dark muse" who inspired Shakespeare's sonnets, was a rip-roaring success. And playwright Karen Zacarias cried when she saw Lorca's production of her play, "The Sins of Sor Juana."

Lorca expanded TTT's collaboration with community partners and founded Ten Thousand Voices, which cultivates and enacts stories from people isolated in group-living situations.

Prior to TTT, Lorca spent decades at the Guthrie Theater working in movement, actor training and directing. She developed her aesthetic under the late artistic leader Garland Wright, and the two shared a storytelling approach that includes sculpting poetic images onstage.

For the Guthrie, she memorably directed Tony Kushner's "Caroline, or Change," Seamus Heaney's "The Burial at Thebes" and Ayad Akhtar's Pulitzer Prize-winning "Disgraced."

Harris, who has known Lorca since he was 18 when she taught him in the University of Minnesota/Guthrie BFA program, said TTT is conducting a national search for her replacement.

Lorca will stage the next TTT show, "The Spitfire Grill," starting April 25. She said that she is eager to spend time with her mother, Maria Eugenia Hederra Lorca, also an artist.

"She worked until she was 87 and so I still have a lot of work ahead of me," Lorca said.

Rohan Preston covers theater for the Star Tribune.

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The life and music of Amy Winehouse, through the journey of adolescence to adulthood and the creation of one of the best-selling albums of our time. The life and music of Amy Winehouse, through the journey of adolescence to adulthood and the creation of one of the best-selling albums of our time. The life and music of Amy Winehouse, through the journey of adolescence to adulthood and the creation of one of the best-selling albums of our time.