Chevalier, a 2022 historical drama about an African violinist and composer living in pre-Revolutionary Paris, is certainly attractively photographed and costumed. It is also confidently performed, and showcases a largely unknown historical figure. Conversely the film lacks ambition: not so much a good film as ‘good enough’. If historical biographical pictures of classical music are your thing, Chevalier sits somewhere in the middle. It is more accomplished than Bernard Rose’s Immortal Beloved (1994), but at the same time no one should expect anything approaching Miloš Forman’s Amadeus (1984).

Joseph Bologne (Kelvin Harrison Jr) is the illegitimate son of wealthy aristocrat Georges Bologne de Saint-Georges and one of Saint-Georges’ slaves, Nanon (Ronkẹ Adékoluẹjo). Enrolled into a Jesuit school, young Joseph suffers racism while perfecting his skills as a violinist and fencer. As an adult, and while the court favourite of Marie Antoinette (Lucy Boynton), Joseph competes to become director of the prestigious Paris Opera.

That Chevalier exists at all is a valuable achievement. Joseph Bologne was Europe’s first major classical composer of African descent, and to a large extent the institutionalised racism of 18th century France devalued and disregarded his achievements. If the film brings greater attention to his music and personal achievements, so much the better. Indeed, the more a viewer of Chevalier is tempted to read up on the real Bologne the better. He actually lived a far more interesting life that what Stefani Robinson’s screenplay might suggest. It is a neatly structured work, but in tidying up Bologne’s life into a three-act narrative a much more interesting and epic work has been left on the table. Chiefly the film ends before the events of the French Revolution, denying audiences Bologne’s experiences as a colonel in one of Europe’s first all-black regiments and his 11-month imprisonment by the volatile republican government.

What audiences do receive is a reasonably well-paced and efficient romantic drama. At its core is Bologne’s romance with opera singer Marie-Joséphine de Montalembert (Samara Weaving) – an association that raises the ire of her husband Marc René, Marquis de Montalembert (Martin Csokas). While the narrative plays things particularly safe and predictable, it is well-performed by a talented cast. Csokas in particular gives off a decent sense of menace as the furious and cruel Marquis. Minnie Driver also makes an impact as opera singer Marie-Madeleine Guimard, whose own romantic advances are bluntly rebuffed by Bologne.

Ronkẹ Adékoluẹjo plays a critical role as Bologne’s mother Nanon, a freed slave whose role in the film and influence on her son increase as the story develops. One of the more interesting aspects addressed in the film is Bologne’s gradual embracement of his African heritage compared to his privileged upper class upbringing. There is plenty of room for this element to have been further expanded; as there is for the revolutionary developments in France at the time.

Director Stephen Williams does an evocative and efficient job of helming the film. Asides from two independent Canadian films, Williams’ career has been largely spent directing for television. This is an attractively composed and enjoyable step up for him to full-budgeted studio filmmaking, and he appears to suit it well. As is often the case with period drama, Oliver Garcia’s costume design is a particular highlight.

At the centre of the film lies Kelvin Harrison Jr’s strong, vital performance as Bologne himself. In recent years he has showcasing his strong acting skills through a range of films including playing B.B. King is Baz Luhrmann’s Elvis (2022) and Fred Hampton in Aaron Sorkin’s The Trial of the Chicago 7 (2020). His leading role in Chevalier will hopefully push his career up a notch.

Ultimately Chevalier is an engaging and enjoyable historical melodrama. Taken on its own merits and it is an easy enough way to while away two hours. That said, one cannot help but hope that in future projects its writer and director are a little more ambitious about the story they want to tell.