Babettes gæstebud (1987)

Director:

Gabriel Axel

Writers:

Karen Blixen (novel)
Gabriel Axel (screenplay)

Release Date:

4 March 1988 (USA)

Genre:

Drama | Music | Romance

Plot:

In 19th century Denmark, two adult sisters live in an isolated village with their father, who is the...

Plot Keywords:

Feast | Denmark | Refugee | Cavalry Officer | Rejected Lover

Awards:

Won Oscar. Another 10 wins & 6 nominations

Cast

Stéphane Audran	...	Babette Hersant (as Stephane Audran)
Bodil Kjer	...	Filippa
Birgitte Federspiel	...	Martine
Jarl Kulle	...	General Lorens Löwenhielm
Jean-Philippe Lafont	...	Achille Papin (as Jean Philippe Lafont)
Bibi Andersson	...	Svensk hofdame
Ghita Nørby	...	Narrator
Asta Esper Hagen Andersen	...	Anna (as Asta Esper Andersen)
Thomas Antoni	...	Svensk Lieutenant
Gert Bastian	...	Poor Man
Viggo Bentzon	...	Fisherman in Rowboat
Vibeke Hastrup	...	Young Martine
Therese Hojgaard Christensen	...	Martha
Pouel Kern	...	The Minister
Cay Kristiansen	...	Poul

Also Known As:

Babette's Feast (USA)

Runtime:

102 min

Country:

Denmark

Language:

Danish | Swedish | French

Colour:

Colour (Eastmancolor)

Aspect Ratio:

1.66 : 1

Sound Mix:

Dolby

Certification:

Singapore:PG | South Korea:All | Argentina:Atp | Australia:G | Chile:TE | Finland:S | Iceland:L | Peru:PT | Sweden:7 | USA:G | West Germany:6

Filming Locations:

Copenhagen, Denmark

Company:

Panorama Film A/S

Quotes:

Old Lorenz Lowenhielm: [looking at himself in a mirror] Vanity. Vanity. All is vanity.

Movie Connections:

Featured in "Zomergasten: (#20.5)" (2007)

Soundtrack:

Don Giovanni

Spare yet sumptuous

The dead spots and picture-postcard superficiality of "Out of Africa" just about buried any interest I might have had to read Isak Dinesen. So when my brother bought me "Babette's Feast," and knowing it was based on a Dinesen story, I didn't exactly race to the VCR. But as the titles rolled, it became clear that this was no ordinary movie. Jutland (where it's set) is not Africa; the chill mist that collects on the camera shots is not inviting. The cold, forbidding sea; the heavy, gray clouds; the pale, icy green cliffs--translate to hardships that show on the faces over which director Gabriel Axel draws the curtain. The craggiest is Bodil Kjer's as Philippa; amid the myriad merits of this movie, the most memorable is that face. It stands like a map laying before us the cherished wonder of her minister father's apostolate; like a maze of long-overlooked fjords where the complications of her congregation's perseverance and commitment hang like gleaming escutcheons.

I gather it's Dinesen's point how the world is drawn inexplicably to Christian dedication, when Philippa is rejected by her only serious suitor (because he fears he'll never measure up to the rules and rigors of her small religious clique), and he returns to find her mistress of whom he regards as the greatest chef on the continent. I figure it's also her point that Christ answers the doubts and regrets of those who give up worldly success (Philippa's sister Martina rebuffs efforts by a visiting baritone (Jean-Philippe Lafont whose jolliness creates an uplifting counterpoint to the sparsity of spirit that surrounds his discovery) to turn her into an opera star; the title character leaves France and an enviable reputation and seeks sanctuary as the servant of two spinster sisters) to pursue artistic triumphs for only God and those closest to Him to witness. But it's Axel who weaves the asperity of these people's lives with the richness of Martina's voice and Babette Hersant's table and effects a sumptuousness you'd never expect from a movie about sacrifice, faith, and religious conviction.

What sets this movie apart from other religious movies is its sly humor. "Babette's Feast," that is, the banquet itself--a posthumous commemoration of the minister's 100th birthday--is a beautifully orchestrated clash of sensibilities that delivers comic moments by an ensemble of actors that are unparalleled in their subtlety. It's just this deft comedy that enriches the solemn sentiments at closing. Together they do something pious movies seldom do. They leave a believer tremulously hopeful and unexpectedly resolute and humbled.