Dark satire is mixed with intelligent character work and a challenge to our assumptions in this intriguing film
Director: Mark Mylod
Cast: Ralph Fiennes (Julian Slowik), Anya Taylor-Joy (Margot Mills), Nicholas Hoult (Tyler Ledford), Hong Chau (Elsa), Janet McTeer (Lilian Bloom), John Leguizamo (Famous Actor), Reed Birney (Richard Liebbrandt), Judith Light (Anne Leibbrandt), Paul Adelstein (Ted), Aimee Carrero (Felicity), Arturo Castro (Soren), Rob Yang (Bryce), Mark St Cyr (Dave)
A dash of Succession. A soupcon of Hannibal Lector. Lashings of The Most Dangerous Game. All these ingredients are mixed to delightfully dark comic effect in The Menu, a sharp and tangy assault on class and modern society which leaves an unusual but satisfying taste in the mouth.
First those touches of The Most Dangerous Game. Julian Slowick (Ralph Fiennes) is a restauranteur so exclusive, his restaurant is based on a private island. Each course, of each menu is part of an overall story that forms the meal. For the story of the meal he is currently preparing, Slowick has selected an exclusive guest list of the rich and famous: businessmen, the rich, movie stars, food critics – the elite, the snobbish, the 1%. And the story he is serving up is one of increasingly grim retribution for this table-load of takers not givers. The only unexpected figure there is Margot (Anya Taylor-Joy), last-minute guest of obsessive food purist Tyler (Nicholas Hoult). How will this unexpected fly in the soup affect Slowick’s plans for the evening?
The Menu in many ways is a revenge satire. Slowick does not hold back in his increasing fury and bitterness at the people he serves without appreciation or gratitude in return. His customers are interested only in food if it costs a lot and is exclusive. They have no interest in his actual skills, in the staff (whose names they do not remember), the food itself or anything beyond their own desires. Many of the customers – most hideously a trio of “bro” investors (played with slapable smugness by Castro, Yang and St Cyr) – flash their jobs and cash expecting these to ensure their every whim is met. To them the world is like dough to be shaped into whatever bread they want it to be.
The film – with glee – exposes the hideous selfishness of the rich customers. A rich couple (Birney and Light) who have attended Slowick’s restaurants several times yet remember nothing about the food or the staff. Janet McTeer’s elite food critic, who practically scratches marks into her pen to mark the restaurants she has closed (she’s accompanied by a fawningly obsequious editor, played by Adelstein). A famous actor (John Leguizamo) who has long-since sold-out and treats his fans with contempt, joined by his spoilt rich-girl assistant/girlfriend (Aimee Carrero). Each of them is deconstructed in turns by Slowick over a series of courses parodying the snobbish bizarreness of high-class dining.
And here is where those touches of Succession make themselves known in the flavour. That series – and Mylod is a veteran (and its finest director) – also presents the ghastly shallowness and greed of the super-rich to expert comic effect. But what that show also does – and what Mylod brilliantly manages here – is make what could be two dimensional monsters sympathetic. The Menu presents these dreadful people with honesty; but, as the punishments – cruelly personal reveals, psychological torture, a finger cut off here, a man hunt there – pile up, you start to wonder if the punishment is too much?
The “bro” investors may be dreadful selfish, arrogant, dick-swinging morons: but they are also immature idiots who have never really grown up. The rich couple might treat places like this elite restaurant as a God-given right, but does that really deserve death? The food critic is harsh and arrogant, but is writing cruel words a mortal sin? The actor loathes himself for selling out his talent to make money and his girlfriend has simply been born into money and never wanted for anything. Do these people really deserve the monstrous ends Slowick has planned for them?
It’s the smartness of The Menu which could easily have invited us to just enjoy the rich and powerful being exposed, humiliated and punished. Instead, this is a smarter, more intelligent dish. The lower-class restaurant staff should be the people we are rooting for. But Slowick runs the restaurant like a cult, the staff near-robotic automatons that follow Slowick’s orders without question, intone their “Yes, Chef!” answers like a religious chant and snap to attention as one. Slowick’s number two Elsa – superbly played by Hong Chau – sums them up: all of them are desperate to become her boss and will follow Slowick to hell and back without a murmour and their heartless, personality free cruelty makes them very hard to root for.
As does Slowick himself. Here comes that sprinkling of Lector. Played with a superb, chilling intensity by Ralph Fiennes at his most coldly austere, Slowick could have been a character who swept us up in his intelligent superiority. But there is not a hint of joy in Slowick, only a vast, bubbling anger and resentment under a coldly precise exterior. Who on earth could look at this near-psychopath and think “I’d love to be him”? Slowick’s service is dryly, terrifyingly funny but you’d certainly not be left wanting to leave him a tip (unless it was your only way of getting out alive).
Instead, we gravitate towards the odd one-out. Anya Taylor-Joy is excellent as Margot, the unexpected guest who finds herself the only person unprepared for by Slowick, who is neither a member of the super-rich, but too free-spirited and independent minded to join the Slowick cult. Dragged along by Tyler – a hilarious performance of over-eagerness, snobbish elitism and stroppy self-entitlement by Nicholas Hoult – The Menu revolves more and more around the dance of death between her and Slowick. Like the audience, Margot is invited to pick a side to sympathise with.
It makes for a rich, lingering dish with an intriguing after taste, far more developed and better cooked than the sloppy revenge saga or re-heated leftovers it could have been. It left me wanting a second course.
Movie Musings 