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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

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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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“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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• Entertainment
• 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

• The Kadam family leaves India for France where they open a restaurant directly across the road from Madame Mallory's Michelin-starred eatery.
• The family of talented cook, Hassan Kadam (Manish Dayal), has a life filled with both culinary delights and profound loss. Drifting through Europe after fleeing political violence in India that killed the family restaurant business and their mother, the Kadams arrive in France. Once there, a chance auto accident and the kindness of a young woman, Marguerite (Charlotte Le Bon), in the village of Saint-Antonin-Noble-Val inspires Papa Kadam (Om Puri) to set up a Indian restaurant there. Unfortunately, this puts the Kadams in direct competition with the snobbish Madame Mallory's acclaimed haute cuisine establishment across the street where Marguerite also works as a sous-chef. The resulting rivalry eventually escalates in personal intensity until it goes too far. In response, there is a bridging of sides initiated by Hassan, Marguerite, and Madame Mallory (Dame Helen Mirren), both professional and personal, that encourages an understanding that will change both sides forever. — Kenneth Chisholm ([email protected])
• The Kadam family after leaving India due to a fatal tragedy finally settle in a small town in southern France. They set up a traditional family run Indian restaurant just like they had always planned but opposite a competitive French restaurant. This initial rivalry creates unexpected twists for the better and for the worse in the lives of both the Kadam family and Madame Mallory (Dame Helen Mirren), the owner of the Michelin star restaurant a hundred feet away. — Viir khubchandani
• Hassan Kadam (Manish Dayal), the oldest of five siblings, was taught how to cook, but more importantly truly taste and love food, by his mother. Their entire family works together in their open air eatery in Mumbai. In his role, Hassan considers himself a cook and not a chef as he was never professionally trained. Following the tragic death of Hassan's mother, his well-off but frugal Papa Kadam (Om Puri) decides to pack up the family and move to Europe to open a restaurant, the business to keep to his wife's memory in their love of South Asian cuisine. After an initial business misstep in London, Papa believes it is fate that their van breaks down just outside of the French town of Saint-Antonin-Noble-Val, that they meet a local foodie, a young woman named Marguerite (Charlotte Le Bon), who introduces them to the abundance of fresh locally sourced produce, seafood and meats, and that there is an abandoned restaurant property on the outskirts of town for sale. Against the wishes of the family, Papa decides to purchase the property for their business, even after learning that the previous owners could not make a go of it because it is a mere one hundred feet from Le Saule Pleureur, a Michelin-starred restaurant where Marguerite works as a sous-chef, she trying to work her way up to chef-de-cuisine. Papa's resolve is strengthened as he believes their style of food is not only different than the French, but better in their bold flavors, something he wants to show the locals. Madame Mallory (Dame Helen Mirren), Le Saule Pleureur's proprietress, took over its running following the death of her husband. The restaurant is now her entire life, and she has waited close to thirty years for it to receive its second Michelin-star, so far without success. Madame Mallory does not take too kindly to her new neighbors, not only as potential competition, but in the Kadams', most specifically Papa's, brash and forward approach to life, unlike the refined French. An initial action by Madame Mallory to make sure Maison Mumbai, the Kadams' restaurant, doesn't succeed, leads to an all out war between her and Papa. But a potential bridge emerges between the two restaurants with the budding friendship and possible romance between Hassan and Marguerite. Beyond that friendship and romance, Hassan believes, to survive, they have to meld their bold flavors to local ingredients and techniques, he who wants to learn the art of French cooking from Marguerite. A singular action in that war results in what could be a fundamental shift between all the players at Le Saule Pleureur and Maison Mumbai. — Huggo
• Put young Hassan Kadam (Manish Dayal) in a kitchen, and he's bound to emerge with a dish that will dazzle. When Hassan's family is forced to move from their native India, his Papa (Om Puri) relocates to a peaceful hamlet in Saint-Antonin-Noble-Val in the south of France. Determined to give his new neighbors a little taste of home, Papa decides to open an Indian restaurant in the village, and names it "Maison Mumbai". Meanwhile, across the street at the traditional French restaurant Le Saule Pleureu, uptight proprietor Madame Mallory (Dame Helen Mirren) doesn't exactly welcome the competition. When Madame Mallory ignites a bitter feud that quickly escalates, the only hope for a peaceful resolution lies in Hassan's talent for French haute cuisine, and his growing affections for Madame Mallory's pretty young sous chef Marguerite (Charlotte Le Bon). Subsequently impressed by Hassan's undeniable culinary talents, Madame Mallory agrees to become Hassan's mentor, in the process providing the perfect creative environment where his unique fusion cuisine can thrive.
• In the opening scene, at a customs office, Hassan Kadam ( Manish Dayal ) explains to French Immigration why he and his family want to live in France: his family had owned a restaurant in Mumbai, but on an election night, there was a riot and their restaurant was set on fire, killing his mother who was the chef. He learned everything about cooking from her and has been trying to teach himself as his Papa moves the family about Europe. He fondly remembers buying sea urchins, the seller exclaiming that he gets cooking. Admitting he doesn't have any proof that he knows how to cook, except to offer a homemade samosa and saying that English produce isnt good enough, the Kadam family is allowed in. Papa ( Om Puri ) is driving the family throughout the French countryside, trying out random vegetable gardens, when their old van finally gives out in the hills above Saint-Antonin-Noble-Val, a small village. A young woman passes by, offering to take them to the local mechanic. The family (also brothers Mansur and Mukthar and sisters Mahira and Aisha) push the van into town. Marguerite ( Charlotte Le Bon ), the woman, brings them to her apartment and offers a snack- a huge platter of radishes, butter and salt; home baked bread; large, fresh tomatoes; olives she picked and cured herself and little pastries. Delighted, Papa eagerly looks forward to bargaining with the hotel in town, much to Mansurs dismay. In the morning, Papa discovers an abandoned restaurant. As he and Hassan are exploring, Madame Mallory ( Helen Mirren ) announces they are trespassing. She admits she is not the owner either, but keeping an eye on the property for the owner who is in Paris. Again, Papa wants to bargain with the owner and soon we see the family cleaning up the restaurant to turn it into Maison Mumbai. The family finds out the reason why Madame is so hostile- she owns the restaurant just across the street: Le Saule Pleureur, a one star Michelin restaurant. Hassan finds mildewed French cookbooks in the kitchen as they prepare for the opening and strikes up a friendship with Marguerite, who he discovers is the sous chef at Madame's. Madame runs a tight ship, scolding employees for serving limp asparagus, saying food should be passionate. She visits her competition, demanding they turn down their Indian music and studies a menu which she takes with her. On opening day, Papa and Hassan travel to market only to discover Madame has snatched up all the crawfish, mushrooms and everything else in town on their opening night menu. Scrambling to save the day, the family forages the river and forest for the needed ingredients and manages to snag customers with native costumes, Mahira's smile and forceful behavior. Madame appeals to the mayor to close Maison Mumbai for various citations, but he appreciates the food too much. Papa turns the tables on Madame and purchases all the ingredients in town for pigeon truffle, one of the restaurant's renowned dishes. Marguerite tells Hassan that Madame doesn't interview job applicants, but asks them to prepare an omelet, knowing from one bite whether or not they have it. Hassan cooks a dish of pigeon with truffle sauce, (the recipe stolen with a bribe from Papa from one of the cooks), which he presents to Madame, and she then dumps in the trash. This is now war (cue the angry chopping). Madame tells her head chef, Jean-Pierre that he is a soldier, which he takes too seriously and has friends torch Maison Mumbai. Horrified, she personally scrubs their wall free of graffiti, fires Jean-Pierre and accepts when Hassan asks to make her an omelet, although he has to direct her since he severely burned his hands in the attack. His omelet includes Indian spices, onions, cilantro and spicy peppers. She raves after one bite and humbly admits that chefs must study for years for what he instinctively knows and admits that his pigeon was wonderful too. After a brief haggle with Papa over salary, Hassan moves across the street (one hundred feet), leaving behind his disappointed younger sister and hesitant older brother (who now has to cook) to polish off his cooking skills with Madame and Marguerite. At the end of one year, Hassan and Le Saule Pleureur have received the much coveted second Michelin star and Marguerite's controlled anger for she has been working for years to be head chef and also because Hassan will now be courted by many Parisian restaurants. The widowed Madame has clearly warmed to the Kadam family, calling Mahira a beauty, cooing to the younger children and feeding Papa a truffle. Another year later and Hassan is burnt out. He is much applauded, but he has taken up drinking (wine is considered strange in Indian culture). One night before Michelin stars are announced, he scolds a sous chef for ruining a sea urchin dish and finds a fellow Indian co-worker enjoying food sent from home. Soon he is taking a train back to Saint-Antonin-Noble-Val, where he tells Marguerite that he has a business proposition for her. Secretly cooking sea urchin for Bastille Day, they consummate their relationship before Madame (who is now Papa's "almost" girlfriend) introduces them as the new partners of her restaurant to her guests and the Kadam family, who didn't even know that Hassan was back in town. When Hassan's phone rings, Papa sees that the call was from Michelin and implores him to call them back, but Hassan insists that he and Marguerite will get a third star next year at Le Saule Pleureur.

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The Hundred-Foot Journey Filming Locations in France + Map!

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Julie & Julia (2009), Chef (2014)… We sure do love a movie that combines food and travel . It helps when the foodie film is shot in some faraway, gorgeous locale like middle-of-nowhere France. But, exactly where was The Hundred-Foot Journey filmed?

The Hundred-Foot Journey  (2014) is based on a novel about a rivalry between a Michelin-starred French restaurant and the new Indian restaurant across the street. Exactly 100 ft opposite. The Kadam family must prove that Maison Mumbai is a fine establishment while Madame Mallory (Helen Mirren) objects to their presence.

You will be disappointed to find out there aren’t many  The Hundred-Foot Journey  filming locations in France, or anywhere for that matter. Director Lasse Hallström shot a lot of the movie in Cité du Cinéma studio just north of Paris . And he used a heck of a lot of CGI and green screen on the locations that do exist so in real life they are almost unrecognisable. But don’t worry! There are still some beautiful The Hundred-Foot Journey locations you can visit and I’ve listed them all and provided a map, too.

Where Was The Hundred-Foot Journey Filmed?

The Hundred-Foot Journey Filming Locations in France

1. saint-antonin-noble-val, tarn-et-garonne.

The film opens with the Kadam family in Mumbai, India . Terrorists bomb their restaurant over a political issue, so the family seek asylum in London, England before settling in Midi-Pyrénées . The first The Hundred-Foot Journey  location in France is an ambiguous one. Hallström filmed for nine weeks in Saint-Antonin-Noble-Val , situated in the Tarn-et-Garonne  department. So, most of the street scenes and countryside scenes next to the river are in and around this town.

I’m just not exactly sure where! Because as I mentioned,  a lot of the scenes are rife with CGI. If you know of any specific filming locations, do let me know.

2. Castelnau-de-Lévis, Tarn-et-Garonne

I’m not sure if  Castelnau-de-Lévis  is one of  The Hundred-Foot Journey  film locations or not. My research tells me it might be! It’s really close to  Saint-Antonin-Noble-Val  in the same region. Maybe the scene at the beginning of the film when Marguerite helps tow the Kadam family to the garage? Who knows! Beautiful village either way.

Read next: Marie Antoinette Filming Locations in Versailles and Paris

3. Carlus, Tarn-et-Garonne

This is a The Hundred-Foot Journey  filming location I am 100% certain exists. Not long after rolling into town, Papa Kadam (Om Puri) stumbles across a dilapidated farmhouse/restaurant. He sees the potential to turn it into a high-quality Indian restaurant-cum-home for his family. Madame Mallory’s restaurant Le Saule Pleureur  is directly opposite his.

I’m sure you already sensed there is some CGI at play here. In fact, there is  a lot .  Maison Mumbai  is an actual farmhouse that the film crew rented for a few weeks. But Le Saule Pleureur ? The facade is half set, half CGI and the landscape surrounding the two restaurants is mostly CGI.  The Hundred-Foot Journey  shot the exterior restaurant scenes in a very small village called  Carlus  just off the  D84 road . I’ve pinned the precise farmhouse on the Google map at the top of this post.

It is a private residence so unfortunately, you probably can’t rock up and have a wander around.

4. Halle de Saint-Antonin-Noble-Val, Place de la Halle, Saint-Antonin-Noble-Val

Fortunately, this is another The Hundred-Foot Journey  film location that is very real. It’s the farmer’s market in the centre of the town. The characters purchase fresh produce for their respective restaurants from Halle de Saint-Antonin-Noble-Val   in Place de la Halle . The main structure dates back to 1840 but most of the market sprawls out onto the streets. The market takes place every Sunday morning and has existed in one form or another for over a century.

Throughout the film, characters sit at various restaurants and cafés in  Place de la Halle . One of which is Glaces Café .

5. Chateau La Durantié, Lanouaille

The exterior of  La Saule Pleureur  might be an illusion, but the interior is very real. It is extremely swanky Chateau La Durantié  in  Lanouaille . It boasts well-lit, bright white dining rooms, high ceilings and I’m sure the food served at this place is top-notch too.

6. Georges, Centre Pompidou, Paris

Madame Mallory hires Hassan, Maison Mumbai’s top chef, and he promptly earns her a Michelin star. Soon, all the top Parisian restaurants want to hire him so he leaves Saint-Antonin-Noble-Val  to work at  La Baleine Grise , a modern French fusion restaurant. In reality, the restaurant is  Georges   which occupies the top floor of  Centre Pompidou   in  Paris . It has an industrial design with glass walls so customers are treated to a beautiful panoramic view of the city.

So, where was The Hundred-Foot Journey  filmed? All of these filming locations are in France! Have you watched the movie or visited any of The Hundred-Foot Journey  filming locations? Let me know in the comments below!

Read next: A Good Year Filming Locations in France

Hey! I wrote this. And I'm the human (and hair) behind Almost Ginger. I live for visiting filming locations, attending top film festivals and binge-watching travel inspiring films. I'm here to inspire you to do the same! Get in touch by leaving a comment or contacting me directly: [email protected] .

4 thoughts on “ The Hundred-Foot Journey Filming Locations in France + Map! ”

Bonjour Rebecca! Thank you for this interesting article. In 1984 I was an exchange student to France, living in a tiny village called Orban. My host mother’s parents lived in a neighboring village… Carlus! It was a very big deal to everyone when the American film crew came to make this movie. I now show it when doing a food unit in my high school French class. Amazing the way life can connect through the years!

Thanks so much for that story, Karen! I bet it was so surreal for the people with all the crew and set pieces around 😀

Hi Rebecca, well done in researching these locations, which I’m planning to take in on my next road trip to France. In the credits the town of Monteux was mentioned, which is near Carpentras in Provence. I can’t find any specific reason why this is so – have you considered this?

Hey Richard! I have to admit, this was a tough film to research. Not only because of the lack of information online and information available from the production but because of the really heavy CGI use throughout the movie. So if it’s not in the blog post it’s because I wasn’t able to identify which scene it was used for… Sorry I couldn’t be more help, enjoy your trip! 🙂

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• Walt Disney Studios Motion Pictures

Summary Hassan Kadam (Manish Dayal) is a culinary ingénue. Displaced from their native India, the Kadam family, led by Papa (Om Puri), settles in the quaint village of Saint-Antonin-Noble-Val in the south of France. Filled with charm, it is both picturesque and elegant – the ideal place to settle down and open an Indian restaurant, the Maison M ... Read More

Directed By : Lasse Hallström

Written By : Steven Knight, Richard C. Morais

Where to Watch

Helen Mirren

Madame mallory.

Manish Dayal

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, malcolm granath, swedish chef, abhijit buddhisagar, baleine grise porter, rohan chand, hassan (7 years old), masood akhtar, arthur mazet, critic reviews.

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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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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 | Full Movie | Movies Anywhere

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The Hundred-Foot Journey with Steven Spielberg and Oprah Winfrey

The recipe, the ingredients, the journey, on set with oprah winfrey, coconut chicken, rotten tomatoes® score.

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

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.

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

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.

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

[A] beautifully written story.

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

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.

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.

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

Additional Info

• Genre : Comedy, Drama
• Release Date : August 8, 2014
• Languages : English, Spanish
• Captions : English, Spanish
• Audio Format : 5.1

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Product Description

Starring Academy Award(R) winner Helen Mirren (Best Actress, THE QUEEN, 2006), produced by Steven Speilberg, Oprah Winfrey and Juliet Blake, and directed by Lasse Hallström (CHOCOLAT), this uplifting story bursts with flavor, passion and heart. When the chilly chef proprietress of a Michelin-starred French restaurant in southern France (Mirren) gets wind of a culinary immigrant opening an Indian restaurant just 100 feet from her own, her icy protests escalate to all-out war between the two establishments. It's a celebration of triumph over exile as these two worlds collide and one young man tries to find the comfort of home in every pot -- wherever he may be.

Product details

• Aspect Ratio ‏ : ‎ 2.39:1
• Is Discontinued By Manufacturer ‏ : ‎ No
• MPAA rating ‏ : ‎ PG-13 (Parents Strongly Cautioned)
• Product Dimensions ‏ : ‎ 0.7 x 7.5 x 5.4 inches; 2.4 ounces
• Item model number ‏ : ‎ DRWR12365700DVD
• Director ‏ : ‎ Lasse Hallstrom, Lasse Hallström
• Media Format ‏ : ‎ Multiple Formats, Color, Widescreen, NTSC
• Run time ‏ : ‎ 2 hours and 2 minutes
• Release date ‏ : ‎ September 20, 2015
• Actors ‏ : ‎ Helen Mirren, Om Puri, Manish Dayal, Charlotte Le Bon, Amit Shah
• Dubbed: ‏ : ‎ French, Spanish
• Subtitles: ‏ : ‎ English, French
• Producers ‏ : ‎ Juliet Blake, Steven Spielberg, Oprah Winfrey
• Language ‏ : ‎ French (Dolby Digital 5.1), English (Dolby Digital 5.1), Spanish (Dolby Digital 5.1)
• Studio ‏ : ‎ Walt Disney Studios Home Entertainment
• ASIN ‏ : ‎ B00MI56UI6
• Number of discs ‏ : ‎ 1
• #256 in Romance (Movies & TV)
• #874 in Comedy (Movies & TV)

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Coming soon, Hard Miles is a true story film blending Breaking Away's spirit with a modern twist

F or those who have been looking to relive the cinematic cycling thrill of the 1979 classic Breaking Away , the upcoming movie Hard Miles is for you.

Starring 2024 Best Picture Oppenheimer actor Matthew Modine , Hard Miles draws from the true story of the cycling team at Rite of Passage’s Ridge View Academy, a medium-security correctional school in Watkins, Colorado. 

The film centers around school social worker-turned cycling coach Greg Townsend (played by Modine) as he orchestrates an unlikely group - ragtag boys with no cycling experience in his shop class at Ridge View Academy - into a peloton at the request of the school administration who believe it will “look good” for the school to have something wholesome to share with donors. 

However, as viewers can imagine, the “hoods in the woods” campaign becomes so much more than putting up a positive front to appease school donors.

Townsend recruits a group of boys known for sparring with each other in the halls of the school to his newly formed peloton (in which Townsend rides a robin’s egg blue Ventum bike ), telling the boys that once they learn how to ride, their bicycles will become an extension of who they are. 

The juvenile delinquents are understandably skeptical at first, with one scene depicting the boys complaining about how much their cycling saddles hurt their buttocks while out for an initial training ride. 

As many of us have when coaxing new cyclists on their first rides, Townsend yells back, “You’ll get used to it!”

Along the way, the unorthodox peloton is frequently doubted by many, including other social workers at the Ridge View Academy. Many try to talk Townsend out of guiding a group of such inexperienced cyclists on a potentially dangerous bikepacking trip, but Townsend and the peloton commit to setting forth.

During their journey from Denver to the Grand Canyon, the crew face obstacles that go beyond the expected dehydration and exhaustion of such an ambitious ride; they must learn to trust each other, to support each other and to sacrifice their own desires for the greater good.

Townsend isn’t a perfect coach, though - and his own flaws come to head as he pushes the boys to multiple breaking points on their journey as a peloton. Townsend is on his own quest to learn how to take his own advice about forgiveness and growth as he navigates his relationship with his dying father.

Other actors of note in Hard Miles include Sean Astin (“Lord of the Rings,” “Rudy”), Leslie David Baker (“The Office”) and Damien Diaz (“Shameless”).

Hard Miles has been awarded numerous accolades including the Audience Award at the 2023 Denver Film Festival, Winner at the 2023 Heartland International Film Festival and the Audience Award for Best Narrative Feature at the 2023 Naples International Film Festival. 

The film will be released on Monday, April 19 at more than 350 movie theaters nationwide.

How strong is a 4.8 earthquake? Quake magnitudes explained.

The 4.8 magnitude earthquake that struck New Jersey Friday generated shaking that could be felt from Washington, D.C. to north of Boston.

About 55 earthquakes a day – 20,000 a year – are recorded by the National Earthquake Information Center . Most are tiny and barely noticed by people living where they happen. Click here to see the USDA shake map for the most recent earthquakes.

Worldwide there are on average about 16 major earthquakes in any given year, 15 in the magnitude 7.0 range and one 8.0 or greater, according to records going back to 1900.

The United States typically has around 63 earthquakes of between magnitude 5.0 and 5.9 each year, according to USGS , about five between 6.0 and 6.9 and less than one between 7.0 and 7.9.

A major 7.4-magnitude earthquake hit Taiwan on Wednesday morning , killing 9 people and injuring over 1,000. The strongest earthquake there in a quarter century was followed by a series of aftershocks, reaching up to 6.4 magnitude.

More earthquakes are being recorded around the globe, but that doesn’t mean there are more earthquakes happening , according to the US Geological Survey. Instead, it’s because there are more measurement devices, called seismometers that record vibrations, which have been deployed in more places.

Earthquakes are a natural part of life on Earth, a geologically active planet , with seven major tectonic plates. These are continent-sized slabs of rock that glide over the planet’s mantle, constantly but very slowly reshaping the Earth’s landscape.

What does magnitude mean in an earthquake?

Magnitude is a measurement of the strength of an earthquake . Officially it's called the Moment Magnitude Scale . It's a logarithmic scale , meaning each number is ten times as strong as the one before it. So a 5.2 earthquake is moderate while a 6.2 is strong.

The magnitude and effect of an earthquake, according to Michigan Technological University :

• Below 2.5: Generally not felt
• 2.5 to 5.4: Minor or no damage
• 5.5 to 6.0: Slight damage to buildings
• 6.1 to 6.9: Serious damage
• 8.0 or greater: Massive damage, can totally destroy communities

Intensity scales, measured in Roman numerals, are used to describe how strong the earthquake felt to people in the area.

According to the California Earthquake Authority , an intensity of I is typically felt only under especially favorable conditions. A IV, which leads to light shaking, is felt indoors by many, but not typically outdoors. It might awaken some people at night and lead to a senation like a truck striking a building. A parked car would rock. Intensities VI and above would be strong, frightening and felt by all, with the damage increasing up to a X where the shaking would be violent. Some well-built wooden structures would be destroyed and most masonry and frame structures along with their foundations would be ruined.

While you might have heard the term " the Richter Scale " used to describe earthquakes, it is no longer commonly used because it was only valid for certain earthquake frequencies and distance ranges.

Why does an earthquake's depth matter?

Magnitude measures how strong a quake is. That said, how much the ground shakes depends on an earthquake's intensity, which in turn depends on two things: how far away the actual site of the temblor was and what kind of soil it occurs in.

This is why an earthquake's depth is often given. The epicenter of the Northridge earthquake in Los Angeles in 1994 was in the San Fernando Valley, the point where the quake was strongest. But the hypocenter , the location where the quake actually occurred, was more than 11 miles underground. If it had been closer to the surface the 6.7 magnitude quake would have been even more devastating.

The type of ground matters too. Bedrock shakes least, sand and gravel as much as two times more and mud and landfill as much as five times more, a major factor in why some areas of San Francisco suffered more than others in the Loma Prieta quake of 1989 .

Why real earthquakes aren't like in the movies

Though movies like San Andreas and Earthquake show enormous entire coastlines dropping off into the ocean, it's not going to happen.

According to the US Geological Service, while a "mega-quake with a magnitude of 10 or larger is theoretically possible, it's very unlikely .

The magnitude of an earthquake magnitude depends in part on how long the geological fault it occurs on is. Longer faults result in stronger earthquakes.

There are no known faults capable of generating a magnitude 10 or larger. The San Andreas fault of movie fame couldn't produce a quake larger than about 8.3 given its length, according to USGS.

The largest earthquake in US history was the 1964 Good Friday quake in Alaska , a 9.2 magnitude quake which killed 131 people. It lasted four and a half minutes and ran along the Aleutian fault.

What's the chance of an aftershock?

Any time there's an earthquake, one concern is that it was merely a foreshock to a bigger quake that's coming.

Globally, the probability one earthquake will be followed by a large earthquake within 3 days is somewhere just over 6%, according to USGS .

That means whenever there's an earthquake, there's about a 94% chance that it wasn't a foreshock and there won't be any more quakes linked to it.

The numbers are a little different for California, which is very seismically active. There, about half of the biggest earthquakes were preceded by foreshocks, according to USGS. But that means half were not.

Unfortunately, it's impossible to know if any one quake is a foreshock.

Aftershocks  are defined as smaller earthquakes that happen in days after a larger quake. As USGS puts it, they represent "minor readjustments along the portion of a fault that slipped at the time of the mainshock."