dizquik

10/10

FIVE STARS - BEST FILM OF ALL TIME Part One: The Invitation (No Spoilers) There are films that entertain, films that move, and then there are films that change you. Babette’s Feast is the latter. It is a story that reaches beyond the screen and touches something profound in the human spirit—a film about generosity, sacrifice, and the power of art to transform the soul. This is not a film to be merely watched; it is one to be experienced. It speaks to something universal, yet deeply personal—a meditation on what it means to give, to receive, and to find meaning in the fleeting moments that define a life. It’s why this film stands out above all the other thousands I’ve seen and is number one, at the top of my list as the best film of all time. To say more would be to unravel its magic. Go watch it first. Let it unfold before you. Let it take you by surprise. And then, come back. Because there is much more to discuss. SPOILERS AHEAD! COME BACK AFTER YOU WATCH IT. PLEASE!! Part Two: The Human Equation (Spoilers Below) Babette’s Feast is a story of what it means to be an artist, of giving all that one has, not for wealth or recognition, but simply for the act itself. Babette, once the greatest chef in Paris, spends everything she has on a single meal, not because she seeks approval, but because she must. This is her art. This is her purpose. Her guests—pious, restrained, fearful of pleasure—are confronted with something they do not understand: sensory joy as a form of grace. They come to the table hesitant, but as the meal progresses, something shifts. Old wounds soften. Bitterness fades. Love, long buried under years of restraint, finds a way to the surface. They are changed. This is the paradox of Babette’s sacrifice: she gives everything for something that will not last. A meal, consumed in an evening. Yet, in that fleeting moment, she achieves something eternal. The act of giving, the act of creating, becomes the thing that lingers forever. Her decision is staggering. With newfound wealth, she could have rebuilt her life, returned to Paris, reclaimed the position she once held. But instead, she gives it all away. In doing so, she orchestrates something far greater than survival: a moment of transcendence. This is where the film reveals its deepest truth. The means—the money, the fortune—are what is fleeting. The act of giving, of sharing, of transforming others through one's own sacrifice—that is what remains. The General and the Weight of Time The General, once a reckless and passionate young man, is haunted by his past. He had a chance at love, with Philippa, and he squandered it, choosing the path of ambition and soldiering. As an old man, he returns to this secluded village, reflecting on the life he has lived and the opportunities he let slip away. Yet, in the feast, he finds something he never expected—a second chance at transcendence. He recognizes Babette’s meal as something he once tasted in his youth, yet back then, he did not allow it to transform him. Now, in his old age, he does. The Musician and the Art of Sacrifice The musician who once taught Philippa also fled to this village, a place that seems to draw in those who have lost or abandoned something precious. He saw in Philippa a voice of divine beauty, a talent unmatched, yet her devotion to her father and faith kept her from pursuing the life of an artist. She, too, made a sacrifice—one of devotion, of choosing her duty over her gift. The musician, like the General, once failed to grasp what was before him. But here, at Babette’s table, there is an understanding that life’s choices, even the painful ones, lead us to where we are meant to be. The Eternal Offering In the end, Babette’s Feast is not just a film about food. It is about generosity, about the sacred relationship between host and guest, and about art as an offering. It is, in the truest sense, a masterpiece. If you agree, please friend me/follow me. -- Crafted with Hudson—an AI collaborator for creativity, innovation, and human potential. Explore what’s possible at OpenAI.

r96sk

0/10

Well, <em>'Babette’s Feast'</em> is exactly what it says on the tin, that's for sure. It is a film that I'd personally refer to as 'good', though my interest did ascend and descend interchangeably throughout. The religiously and sing-y scenes were the parts that kinda lost me if I'm honest, but there is still enough there that I had a fine time seeing unfold - the characters for one, and then the final feast itself is decent viewing. Stéphane Audran is the best performer onscreen, I enjoyed her showing. The actresses that play Filippa and Martine, both younger and older, are solid. Beyond them, the rest of the cast all kinda merge into one in my memory as being alright. It's very much all about Audran, I'd say. I do like how the film unfolds and what it has to end up saying, there is charm in there. I just personally would've had it move along at a slightly quicker pace because this does drag a tiny bit in parts; and that's despite it only being practically a 90 minute movie. Overall, though, it's a pass from me.

Wuchak

0/10

**_The moment when “Mercy and truth… have kissed each other”_** In a northern Jutland village, two daughters of a pietistic Lutheran pastor are dutiful spinsters by 1871 (Bodil Kjer and Birgitte Federspiel) when they take-in a Parisian refugee who “can cook” (Stéphane Audran). Fourteen years later, the latter insists on banquet for the dwindling congregation and a Hussar general, a former suiter of one of the sisters from decades earlier (Jarl Kulle). A Danish production, “Babette’s Feast” (1987) was based on the short story by Isak Dinesen, aka Karen Blixen, who’s also known as the author of “Out of Africa.” I point that out because this has the same quietly dramatic tone, just transplanted to a family of ascetic rural Protestants in 1800’s Denmark. To enjoy this, you have to be in the mood for period drama along the lines of “Mysteries” (1978) or “Mayflower: The Pilgrims' Adventure” (1979). This is even more mundane and subtle than those, but it’s rich with underlying meaning, such as two opposing things meeting at the table of the true artist for respite, e.g. worldly disillusionment and stiff pietism, Protestant and Catholic, upper-class and lower-class, the experienced and the naïve, bickering congregant and fellow congregant, older self and younger self, etc. I said the movie was subtle, and it is, that is until the third act when a couple of bits are laid on too thick. But, man, I loved the part about loving someone every day, decade after decade, even though you can’t physically be together for one reason or another. It's at least 20 minutes overlong at 1 hour, 42 minutes. And was shot in Denmark with the village located at Vigsø, Thisted Kommune. GRADE: B-

CRCulver

0/10

Based on a Karen Blixen story, <i>Babette's Feast</i> is a heartwarming tale of generosity in 19th century Denmark. As the film opens, we are introduced to Martine and Philippa, daughters of a charismatic preacher in a tiny Jutland village. Dedicated to their father's work, they turn down the courtship of a Danish officer and a French musician. Decades later, the musician sends them Babette, a refugee from the destruction of the Paris Commune, in the hope that the sisters can shelter her and employ her as a maid. When she wins an annual lottery, Babette decides to put on a feast for her employers, but no one expects the depths of selflessness she goes to. <i>Babette's Feast</i> is entertaining enough, and it gives an idea of just how dull and messy life in Jutland was at this time. The details of the feast will make you salivate and dust off the French cookbook, and certainly the ending will make you say "Aww" in spite of how clumsily it's put on film. Otherwise the acting isn't too revelatory, and the humour is pretty basic (the same joke is even used twice). One professional reviewer said this doesn't aim much higher than a television movie, and I'd have to agree.