


As fast as Vienne struggles to form alliances with sweet-toothed townspeople, the mayor spreads the word that she is immoral and out to disturb the town’s precious tranquility. Her opening of a chocolaterie in the middle of Lent is the final straw as far as the tyrannical mayor is concerned, and he makes clear his intention to indirectly force her out of business (and out of town) as soon as possible. Vienne has never been married, does not go to church and is not about to hide either fact. Vienne and her daughter Anouk (Victoire Thivisol) arrive with the north wind, clad in red cloaks that, contrasted with the townspeople’s functional clothing and black shoes, announce their trouble-making passion.

Set in 1950s provincial France, “Chocolat” juxtaposes the stringent principles of Catholic conduct upheld by the town’s mayor, the Comte De Reynaud (Alfred Molina), with the sensuality and spontaneity of its newcomer, the “chocolat”e-making Vienne (Juliette Binoche).
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Whether or not “Chocolat” succeeds as a movie despite its tiresome predictability and less-than-compelling sentimentality is harder to judge. When a “sly” north wind blows open the doors of a village church in the middle of a sleepy Lenten service in the opening scene of Lasse Hollstrom’s “Chocolat”, it hardly takes a clever viewer to predict that the little town is about to experience some turbulence.
