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The Hundred-Foot Journey

The Kadam family leaves India for France where they open a restaurant directly across the road from Madame Mallory's Michelin-starred eatery. The Kadam family leaves India for France where they open a restaurant directly across the road from Madame Mallory's Michelin-starred eatery. The Kadam family leaves India for France where they open a restaurant directly across the road from Madame Mallory's Michelin-starred eatery.

• Lasse Hallström
• Steven Knight
• Richard C. Morais
• Helen Mirren
• Manish Dayal
• 266 User reviews
• 185 Critic reviews
• 55 Metascore
• 2 wins & 4 nominations

• Madame Mallory

• Jean-Pierre

• Mayor's Wife

• Swedish Chef
• Baleine Grise Porter

• Hassan (7 years old)
• All cast & crew
• Production, box office & more at IMDbPro

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• Trivia Om Puri (Papa) was called "Papa" by the cast. He also moved out of the hotel they all stayed in so that he would have a place to cook for them.
• Goofs When Hassan is first making the 5 main French sauces, he is is mixing egg yolks in a bowl and adding oil and something that looks like mustard. He is making mayonnaise, not one of the sauces. Hollandaise, the one sauce out of the five made with yolks, is made in a bowl over steaming water and adding clarified butter.

Madame Mallory : What is this flavor that is fighting against the chicken ?

Hassan : I added some spices for flavor to the sauce, and coriander for garnish and freshness.

Madame Mallory : But why change a recipe that is 200 years old ?

Hassan : Because, madam, maybe 200 years is long enough.

• Connections Featured in The Tonight Show Starring Jimmy Fallon: Helen Mirren/James Cameron/Spoon (2014)
• Soundtracks Afreen Music by A.R. Rahman Lyrics by Gulzar Performed by Nakash Aziz , A.R. Rahman and the KM Sufi Ensemble

User reviews 266

• Sep 2, 2020
• How long is The Hundred-Foot Journey? Powered by Alexa
• August 8, 2014 (United States)
• United States
• United Arab Emirates
• Hành Trình Trăm Bước
• Castelnau-de-Lévis, Tarn, France (Lumière, Restaurants)
• Amblin Entertainment
• Dreamworks Pictures
• Harpo Films
• See more company credits at IMDbPro
• $22,000,000 (estimated)
• $54,240,821
• $10,979,290
• Aug 10, 2014
• $89,514,502

Technical specs

• Runtime 2 hours 2 minutes
• Dolby Digital

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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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The Hundred-Foot Journey Reviews

Mirren is drily funny, deploying an arsenal of MasterChef-style horrified reaction shots.

Full Review | Apr 7, 2023

How wrong can you go with a comedy about beautiful people making beautiful food in the south of France? And Helen Mirren? The woman can turn 105 and she'll still be alluring, even when she's being haughty. Lots of laughs.

Full Review | Original Score: 3.5/5 | Apr 19, 2022

It's an enjoyable film about passion; the passion for food, passion for culture but most of all, passion for life.

Full Review | Original Score: 3/5 | Feb 1, 2021

This isn't your usual summer fare, because it cares far too much about the people whose story it is telling and it takes the time to let you get to know them.

Full Review | Original Score: 3.0/4.0 | Sep 11, 2020

If you're into simple, pleasant movies that offer two-hour escapist entertainment, this may be for you.

Full Review | Original Score: B | Jul 20, 2020

[A] beautifully written story.

Full Review | Feb 5, 2020

Fulfilling, rich and delicious, The Hundred Foot Journey is an effervescent delight, sizzling with cinematic and emotional flavor.

Full Review | Dec 14, 2019

If films about the culinary arts revolved around the same strictures to obtain something like a Michelin star rating, The Hundred-Foot Journey would always and forever be a big fat zero.

Full Review | Original Score: 1.5/5 | Aug 30, 2019

For foodies and folks looking for the cinematic version of a poolside paperback, THE HUNDRED-FOOT JOURNEY delivers. If you're seeking something with a little artistic nutrition, you'll need to look elsewhere.

Full Review | Original Score: 2.5 | Apr 8, 2019

Overall, The Hundred-Foot Journey is not a bad dish, but considering its rich ingredients, it still lacks a bit of spice.

Full Review | Feb 27, 2019

There's an in-built contradiction between the film's attempt to position itself as an ode to cultural understanding while also being a commercially twee depiction of that tale

Full Review | Original Score: 2/5 | Feb 25, 2019

As you might imagine, visually, it's a stunning film, and the story is endearing. Dayal and Le Bon are charming, and Helen Mirren, well, is Helen Mirren.

Full Review | Original Score: 8/10 | Dec 11, 2018

"The Hundred-Foot Journey" is a delicious love story portraying the melting and blending of two opposing cultures.

Full Review | Original Score: 3.5/4 | Aug 21, 2018

This underachieving cooking infomercial left me starving for a decent movie experience. Cancel your reservations to this rancid soufflé.

Full Review | Aug 21, 2018

Has a lot of pedigree behind it, but is sadly unable to transcend its habit of skimming through information and any form of drama whatsoever.

Full Review | Original Score: 2/5 | Aug 13, 2018

If you don't leave the theatre wanting to visit France and eat Indian food, then you didn't enjoy it as much as I did. [Full review in Spanish]

Full Review | Original Score: 3/4 | Jan 30, 2018

With its fine cast, glorious setting, and countless scenes of mouthwatering menus, The Hundred-Foot Journey is an appetizing alternative to summer's superheroes and zombies.

Full Review | Original Score: 7.5/10 | Dec 3, 2017

If you can deal with the uneven narrative - and in this case there's no reason you shouldn't - there is a lot to like about this film.

Full Review | Nov 28, 2017

Reality-bites are fleeting here. This is a food fairytale which prefers the sweet to the tart, cream to the karelas of life. Yet, it takes all those tastes to create a great dish.

Full Review | Original Score: 3/5 | Nov 14, 2017

It may play out predictably, and feature more fake fireworks than it should, but The Hundred-Foot Journey is charming, with enough heart and genuine laughs to forgive its formulaic nature.

Full Review | Original Score: 3/5 | Sep 7, 2017

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 review – curry-joint drama dishes up the cliches

A n Indian restaurateur and his family flee communal violence in Mumbai ("some election or other," the voice-over glibly informs us), and pitch up in southern France, where they open a gaudy curry joint opposite the local Michelin-starred swank house. Om Puri is the patriarch who finds himself at war with Helen Mirren , playing the outraged owner of the posh place, while Manish Dayal – the son with the golden fingers and tastebuds – and Charlotte Le Bon's eyes meet across the wild cèpes. You can guess the rest. Will the Indian family's zest for life melt Mirren's glacial heart? Will their spices change her view of food? Will Franglais – "I wish to make a complaint, officialement!" – be spoken? Cliche piles on cliche, but it's good-natured, undemanding fun.

• The Hundred-Foot Journey
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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

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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, 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

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,…

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 .

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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 : April 24, 2024

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Review: “Hundred-Foot Journey” a foodie culture…

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Review: “hundred-foot journey” a foodie culture clash.

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 especially attract 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 one-upsmanship, 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.

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Review: The Hundred-Foot Journey

The world has so many unique cuisines, so it was inevitable that one day, two would go head to head: if you love Indian food, if you love French food, if you love food in general, this movie is to watch ASAP.

“ The Hundred-Foot Journey ” tells the story of Hassan Kadam ( Manish Dayal ), a man with dreams of being a chef. When Hassan and his family are forced to leave their native India, they travel to Europe, and, led by Papa (Om Puri), they decide to settle down in the picturesque village of Saint-Antonin-Noble-Val in the south of France, and do what they do best: cook Indian food. However, the home they have purchased, and renovated into the ‘Maison Mumbai’, happens to be a hundred feet across the street from a Michelin starred restaurant, le Saule Pleureur, run by Mme. Mallory ( Helen Mirren ). Along the way, Hassan falls for the talented sous-chef, Marguerite (Charlotte Le Bon), who cultivates his passion for food.

As the film began, the interesting concept started to fall into classic formulaic. The struggles of a ‘fish out of water’ family in a very different country, trying to adapt to the culture while remaining true to their own has been seen time and time again on the big screen, though perhaps not with Indians in France. However, I was still entranced by the stunning images of food, the fresh local markets I know so well, and it kept me in the film long enough for the formula to suddenly… switch.

Culturally, most of the French still have a strong sense of culture, and a fear of being erased by globalization (just see Asterix and Obelix , beloved French comic book heroes, and how they are actually a metaphor for the American cultural invasion). Many, especially in the south, feel very strongly against the increasing flow of immigrants. “La France aux Français” (France for the French), the graffiti on their restaurant, is unfortunately a popular slogan down in the south and was painful to see. It’s a real shock, bringing you out of the sense you were watching a lighthearted comedy to the truth of what it is.

This is a film about clashes: the clash of classic and new, the clash of Indian and French cultures and cuisine, the clash of natives and immigrants. And it does so gorgeously. The director uses different filming techniques to reflect upon the divide, as well as shockingly different music, and, it seems, a combination of multiple genres.

In the end, it seems to say that France, just like a good dish, can be enhanced by other cultures, in this case, Indian, just as Hassan combines classic French gastronomy with his love of spices from his homeland. It is a gorgeous movie for food lovers everywhere, though predicable in most places of its plot. It is a feel good drama which leaves a lovely taste in your mouth, but won’t be getting any Michelin stars anytime soon.

Some musings: • That mayor cannot be French. NO ONE orders a doggy bag at a restaurant. • Where are all those fireworks coming from? We don’t get that many fireworks. • Papa means ‘dad’ or ‘daddy’ in French, which really confuses me when people other than his children call him that. Awkward.

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