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The Hundred-Foot Journey

• 55   Metascore
• 2 hr 2 mins
• Drama, Comedy

The teenage son of an Indian restaurateur finds work with his dad's culinary foe across the street in this delectable drama. With a war between the two eateries brewing, the teen merges French and Indian cuisines with delicious results.

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1:58 The Hundred-Foot Journey (UK Trailer 1)

• 2015 - Golden Globe - Best Performance by an Actress in a Motion Picture - Comedy or Musical - nominated

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Helen Mirren

Madam mallory.

Manish Dayal

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The Hundred-Foot Journey: Papa And Madame Mallory Go To War

The Hundred-Foot Journey (UK Trailer 1)

The Hundred-Foot Journey: Subletly Of Flavor

The Hundred-Foot Journey: A Michelin Star

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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’

The Hundred-Foot Journey , a 2014 film based on the eponymous book by Richard C. Morais, joins the likes of Chocolat in the annals of pleasantly mawkish epicurean movies. Helen Mirren and Manish Dayal give harrowing performances for imperfect roles as dueling chefs with neighboring restaurants in the French countryside. The plot conflict tries to embody too much, so if you’re determined to think critically while you watch, this film will be infuriating. But The Hundred-Foot Journey mostly succeeds in its visual feats—I particularly love its stunning scenes of the protagonist’s childhood interactions with sea urchin, even though I later learned they aren’t entirely realistic .

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The Hundred-Foot Journey

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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Movie Score

August 6, 2014,

Lasse Hallström

Helen Mirren, Manish Dayal, Om Puri, Charlotte Le Bon, Rohan Chand, Juhi Chawla Mehta

Comedy, Drama

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Watch 'the hundred-foot journey' online.

Looking to watch ' The Hundred-Foot Journey ' on your TV, phone, or tablet? Discovering a streaming service to buy, rent, download, or view the Lasse Hallström-directed movie via subscription can be a huge pain, so we here at Moviefone want to do the work for you. We've listed a number of streaming and cable services - including rental, purchase, and subscription alternatives - along with the availability of 'The Hundred-Foot Journey' on each platform when they are available. Now, before we get into all the details of how you can watch 'The Hundred-Foot Journey' right now, here are some details about the Amblin Entertainment, Harpo Films, Participant, Imagenation Abu Dhabi FZ, Reliance Entertainment, Touchstone Pictures, DreamWorks Pictures comedy flick. Released August 8th, 2014, 'The Hundred-Foot Journey' stars Helen Mirren , Manish Dayal , Om Puri , Charlotte Le Bon The PG movie has a runtime of about 2 hr 2 min, and received a user score of 73 (out of 100) on TMDb, which put together reviews from 1,402 well-known users. Want to know what the movie's about? Here's the plot: "A story centered around an Indian family who moves to France and opens a restaurant across the street from a Michelin-starred French restaurant." 'The Hundred-Foot Journey' is currently available to rent, purchase, or stream via subscription on Microsoft Store, YouTube, Google Play Movies, Apple iTunes, Amazon Video, and AMC on Demand .

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‘The Hundred-Foot Journey’ Review: Amazing Food and an Overcooked Plot

Published August 7, 2014 Reviews By Allison Loring Disclaimer When you purchase through affiliate links on our site, we may earn a commission.

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In the middle of a busy Indian marketplace, a young boy steals a taste of a coveted sea urchin. The way he closes his eyes and tastes the flavor shows us (and the urchin’s vendor) that he is more than just a curious boy – he understands and appreciates food.

From its opening scene, The Hundred-Foot Journey is driven by its stomach, and director Lassee Hallström brings audiences as close to the amazing food featured on screen as he can without letting you taste it yourself. Unfortunately the narrative loses momentum when it shifts its focus away from the plate (and those filling it).

Growing up working in his family’s restaurant, Hassan ( Manish Dayal ) takes advantage of the opportunity to learn how to cook beside his mother ( Juhi Chawla ). After an unfortunate incident in their hometown, Hassan and his family find themselves driven out of India to seek refuse elsewhere in Europe – eventually ending up in France. As the family drives through the French countryside, their car breaks down, but helpful stranger (and fellow aspiring chef) Marguerite ( Charlotte Le Bon ) happens upon them and takes them in.

Thanks to the family’s patriarch Papa ( Om Puri ) and his stubborn determination to re-open their restaurant (especially after he finds the perfect location), the family may not be leaving as soon as they thought. Papa refuses to heed his family’s warnings when they tell him his perfect location is exactly one hundred feet (they measured) from the town’s most successful restaurant, owned by Madame Mallory ( Helen Mirren ), but he insists on introducing their cuisine (and Hassan’s talent) to French culture.

There are two conflicts that drive The Hundred-Foot Journey — Hassan and Marguerite’s quest to become accomplished chefs while coming to terms with their burgeoning attraction to one another, and Madame Mallory and Papa’s quest to out-do one another with the success of their respective restaurants. While it is entertaining to watch Madame Mallory and the old man try and best one another by harassing the town’s food loving mayor ( Michel Blanc ) over petty grievances with the hope of getting each other’s restaurants shut down, it is Hassan’s passion for food that is the most compelling part of the film.

Dayal delivers a solid performance, but his sudden character shifts from hesitant cook to aspiring chef to potential burnout (plus his relationship with Marguerite moving from potential love interest to competitor) are a bit too jarring to be fully believed. Hassan is a shy young talent who loves his family (who, outside of Papa, are all used as background noise throughout most of the film) so when success seems to turn him into an emotionless, possibly alcoholic shell, the shift feels incredibly sudden and false. Hallström also falters in developing the relationship between Madame Mallory and Papa, making their antagonism feel more convenient than meaningful. Mirren and Puri are consistently funny in their roles, even charming in moments, but their relationship feels near schizophrenic as they move from enjoying an evening cocktail together to a disagreement to dancing the night away – all in the span of a few minutes.

Fortunately Hallström knows when to focus on the food and wisely zooms in, letting the bright ingredients fill the frame whenever someone is cooking or tasting. Much is said about Hassan’s talent as a chef, and Hallström focuses beautifully the way Hassan uses food to create flavor combinations that make his rising (Michelin) star undeniable. As he makes an important meal for Madame Mallory, we see the crack of every egg and the addition of every spice, making you feel like you are learning the recipe as Hassan is creating it.

Hassan and his family’s journey is not an easy one, but Hallström cannot seem to stick to a steady tone and decide if The Hundred-Foot Journey is all fantasy with moments of hardship or hardship made worthwhile by moments of joy. While the film has scenes that feel too easy, these narrative shortcuts are easily forgiven when you take the film for the foodie fantasy it is – beautiful cuisine in a beautiful place (beautifully shot by Linus Sandgren ) prepared and eaten by beautiful people all set to beautiful music from composer A.R. Rahman . It may not be wholly believable, but it is fantastic escapism.

The Hundred-Foot Journey would have been better served to keep the film’s focus on Hassan and his journey from cook to chef (instead of a scurrilous battle between restaurateurs), but it is a sumptuously shot tale full of good food, scenic backdrops, wonderful music and real passion that all make it well worth the reservation.

Upside: Solid performance from newcomer Dayal; menu-worthy cinematography from Sandgren; wisely used close ups of food being prepared and tasted; a wonderful, uplifting score from Rahman.

Downside: Tonal issues and a slightly disjointed narrative structure; character shifts feel sudden and forced; disappointing, one-note performances from Mirren and Puri.

On the Side: The Hundred-Foot Journey is based on Richard C. Morais’ novel and marks Dayal’s first time playing a lead in a feature film.

Allison Loring

• Cast & crew
• User reviews

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.
• The Kadam family runs a restaurant in Mumbai. The second-oldest son, Hassan (Manish Dayal), was being groomed to replace his mother Ammi (Juhi Chawla) as the restaurant's main cook. However, a mob attacks and firebombs the restaurant after election related riots which are targeted against Muslim establishments. Papa Kadam (Om Puri) and his family evacuate the guests, but Ammi is killed. The oldest son Mansur (Amit Shah) and his sister Mahira (Farzana Dua Elahe) also escape. Seeking asylum in Europe, the family first settles in London, where their residence proves ill-suited for a restaurant as it was on the approach path for airplanes landing at Heathrow and very noisy. Hassan continues to teach himself on cooking skills with European meats. Hassan believes that London vegetables have no soul. They depart for mainland Europe. Shortly after entering France, the brakes on Papa's van fail near Saint-Antonin-Noble-Val in the Midi-Pyrenees. Marguerite (Charlotte Le Bon), a sous chef at an upscale French restaurant named "Le Saule Pleureur" ("The Weeping Willow"), passes by and offers to help the Kadams find an auto repair shop (to get the van fixed) and a guest house. She brings the Kadams to her apartment and treats them to cold food. Papa is amazed at the quality of the food in the village and its availability and discovers that Marguerite made the food herself. Papa learns of an abandoned restaurant building available for purchase in the town. It's located directly across the street--only 100 feet-from another restaurant called Le Saule Pleureur. The abandoned restaurant has space for 50 tables, has a covered yard and space for a Tandoori oven. The family is against buying the restaurant as the previous owners could also not make it work due to the restaurant across the street. The Le Saule has a Michelin Star. Papa is adamant that they have a unique cuisine to offer and buys the restaurant. Papa believes that the locals have never tasted their food, and hence don't know what they are missing in life. Madame Mallory (Helen Mirren), "Le Saule Pleureur's owner, asks the Kadams to leave (when he comes to inspect the property) because it is "private property". Papa buys the property, even though the rest of his family is against it, and names the restaurant "Maison Mumbai". Hassan finds many French cookbooks in the restaurant. The family works together to fix the restaurant and make it ready for opening night. Mallory runs a tight ship and makes sure that only perfect dishes are served in her restaurant with the freshest ingredients supplied by local markets. Marguerite tells Hassan that Mallory only cares about earning the 2nd star for her restaurant. Marguerite is herself studying to become the Chef De Cuisine. Mallory comes over to Maison Mumbai to ask for a menu and then buys all the locally available ingredients needed to cook their dishes on opening night. Papa and Hassan have to drive 50 miles to another town to get the ingredients they need. This leaves them with very little time to complete the cooking. No customers turn up for the opening night, so Papa changes into a traditional Indian wear and waits outside the restaurant to entice passersby to enter the restaurant. Mallory's Le Saule is an upscale dining experience, while Maison Mumbai has a festive feel to it. A cold war erupts between Papa and Mallory. Meanwhile Hassan learns French cooking with constant help & a budding romance with Marguerite. Papa & Mallory continue to try and rile each other by filing complaints about each other with the town mayor (Michel Blanc). Mallory complains about the loud music at Papa's restaurant. Papa pays in kind by buying all the pigeons needed for Mallory's menu that she prepared for the visiting minister. Hassan feels this is morally wrong and gifts the pigeons to Mallory by cooking them into a dish, as per specifications. Mallory tastes the dish and throws it in garbage, but secretly she knows that it was cooked perfectly. The war peaks on Bastille Day when one of Mallory's chefs, Jean-Pierre (Clément Sibony), and two others vandalize the Kadams' restaurant by spray-painting words which translate to "France for the French" on the outer wall and firebombing the interior (Mallory has nothing to do with it). Hassan catches the arsonists in the act and scares them off, but his hands and legs are burned from the petrol bombs. That evening Mallory fires Jean-Pierre and cleans up the graffiti on Maison Mumbai's outer wall. Hassan, having heard from Marguerite that Mallory hires potential chefs by taste-testing an omelet and deciding whether the person is indeed a great chef, asks if he may cook an omelet for her to his recipe. Due to his injured hands, Mallory helps under Hassan's supervision. After tasting the omelet, Mallory recognizes Hassan's potential and invites him to work for her. Papa is initially against the move, but ultimately strikes a deal with her as to Hassan's pay. They settle on 320 euros a week, increasing to 350 euros after 3 months. Hassan goes to take Marguerite's permission to cook for Mallory, as he knows that entering Mallory's kitchen would put Hassan and Marguerite in direct competition with each other. Hassan's cooking results in Mallory's restaurant receiving its second Michelin Star. The award draws national attention to Hassan's cooking, and he is offered and accepts a job in Paris. Papa and Mallory make amends and begin seeing each other. Hassan's cooking in Paris quickly receives critical acclaim, fueling speculation of a third Michelin Star for the Paris restaurant, but his work is increasingly bogged down by thoughts of his family and Marguerite (with whom he had an ongoing romance). Hassan returns home and reunites with Marguerite. He invites Marguerite to join him in a business venture-buying a stake in Mallory's restaurant, along with operational control. Hassan believes this will help the restaurant earn its third star. That evening, Hassan and Marguerite prepare dinner at Mallory's restaurant and bring the dishes across the road to the courtyard of Maison Mumbai for all to enjoy.

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The Hundred-Foot Journey

Where to watch.

Rent The Hundred-Foot Journey on Prime Video, Apple TV, or buy it on Prime Video.

What to Know

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.

Critics Reviews

Audience reviews, cast & crew.

Lasse Hallström

Helen Mirren

Madame Mallory

Manish Dayal

Hassan Kadam

Charlotte Le Bon

More Like This

Related movie news.

The Hundred-Foot Journey

Cast & crew.

Helen Mirren

Madame Mallory

Manish Dayal

Hassan Kadam

Charlotte Le Bon

Cultures clash in the kitchen in warm family drama.

• Average 6.3
• Reviews 147

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© 2014 2014 DreamWorks II Distribution Co., LLC

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The Hundred-Foot Journey

• There are no locations currently available for this title

• Rolling Stone Peter Travers Linus Sandgren's camera caresses the cuisine like an ecstatic lover. It brought out the foodie in me.
• Chicago Sun-Times Bill Zwecker Mirren's Madame Mallory unctuously oozes her dedication to perfection from every pore -- and it's truly delicious to watch her work her magic up on the screen.
• Richard Roeper.com Richard Roeper Food porn with a sweet albeit predictable menu.
• Boston Globe Peter Keough One of the characters, no doubt alluding to Proust, says, "Food is memories." Unfortunately, this is one movie about food that I'm forgetting already.
• Christian Science Monitor Peter Rainer Hallström, who also directed Chocolat, follows the foodie-cinema aesthetic by filming the dishes in a gleaming sumptuousness designed to make you famished.
• Philadelphia Inquirer Steven Rea It would be curmudgeonly to count all the ways in which The Hundred-Foot Journey is unsurprising, unrealistic, unnecessary.
• leonardmaltin.com Leonard Maltin Food is the great equalizer in 'The Hundred-Foot Journey.'
• Movie Mom Nell Minow The chef characters would know better than to serve anything so sugary.
• Movie Mezzanine Tomris Laffly ...The Hundred-Foot Journey, which goes down like ice cream during two-thirds of its running time, starts feeling overstuffed toward its final act...
• Grantland Wesley Morris If the movie is high on gastronomy, it also redefines cooking with gas.
• Slant Magazine Elise Nakhnikian The film is rife with tired food metaphors and plot twists so predictable you see them coming like travelers on the poplar-lined street that leads to the dueling restaurants.
• Detroit News Adam Graham Awards material it's not, but the movie knows its intentions and audience, and cooks everything up into a satisfying meal.
• Newsday Rafer Guzman Overall, it's tough to grumble about such a sturdy and crowd-pleasing soufflé.
• New York Times A.O. Scott "The Hundred-Foot Journey" is likely neither to pique your appetite nor to sate it, leaving you in a dyspeptic limbo, stuffed with false sentiment and forced whimsy and starved for real delight.
• New York Magazine/Vulture Bilge Ebiri A moving piece of food porn, The Hundred-Foot Journey is a familiar tale enlivened by some sensitive, sincere touches.
• Los Angeles Times Kenneth Turan If there is room for romantic fantasy in your life, this cinematic equivalent of comfort food goes down easy enough, and it's hard to begrudge it that.
• USA Today Claudia Puig Apart from the scenic location of Saint-Antonin-Noble-Val and the equally enthralling shots of Indian and French cuisine, what remains is a pleasant if rather syrupy tale of clashing cultures.
• Wall Street Journal Joe Morgenstern The folk-wisdom level is tolerable, just as the clichés and manipulations are palatable, because the story is full of life, and free of ironic additives.
• Arizona Republic Randy Cordova There's comfort food and there are comfort movies. In Lasse Hallstrom's "The Hundred-Foot Journey," you get a full helping of both. And guess what? It's all very comforting.
• Washington Post Mark Jenkins Basically a promo reel for small-town France and Gallo-Indian food fusion. Anyone who requires a more substantial meal should eat before heading to the theater.

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Helen Mirren Talks THE HUNDRED-FOOT JOURNEY, Working with Om Puri, What She Looks For in Choosing Projects, TRUMBO, and More

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Helen Mirren ’s fascination with wanting to be a French actress leads to a bold and captivating performance in The Hundred-Foot Journey as Madame Mallory, the exacting chef proprietress of Le Saule Pleureur, a fancy Michelin-starred French restaurant in the south of France.  Her icy protests against Maison Mumbai, the new Indian restaurant across the road from her own establishment, escalate into a heated competition between the two restaurants until she recognizes her culinary rival Hassan Kadam’s ( Manish Dayal ) gift as a chef and his passion for French haute cuisine.  Opening August 8 th , the film directed by Lasse Hallström also stars Charlotte Le Bon and Om Puri .

At the film’s recent press day, Mirren talked about the improvisational set, the pleasure of acting opposite the renowned Puri, what they share in common, how she approaches a role, what she looks for in the projects she chooses and why the director is important, how she likes to change things up and alternate between big movies and low budget films, her fascination with French culture, her favorite French film, Woman in Gold , which she’s currently filming with director Simon Curtis , and her upcoming biopic, Trumbo , with Bryan Cranston about blacklisted screenwriter Dalton Trumbo .  Hit the jump to read the interview.

Question: Dame Helen, your character in this film has the most amazing capacity for “le mot juste,” the perfect thing to say.  You have this wonderful line, “You’re a chef.  I don’t pay you to burn things.”  Is it nice when a script makes you that little bit cooler than you are in real life?

HELEN MIRREN:  Of course.  Why do you think we become actors?  It’s for that very reason.  We get our best lines written for us.  And you know, we look intelligent, and we look witty, and we don’t really have to do anything but say the words.  But having said that, although that line was absolutely scripted, and as you rightfully pointed out, a wonderful line, in fact, we did improvise quite a lot of this film as well, because Lasse likes to.  I think that’s his magic as a film director.  As you all know, film is a very lumbersome, technical, heavy medium.  It’s very hard to make a soufflé of a film, which is hopefully what this is, a well risen soufflé.  But it’s very hard to maintain that sort of lightness of touch.  We would shoot the script, and then we would always improvise and throw it around a bit.  So, the set was a very improvisational set, which was lovely.

To what degree was it a pleasure for you to work with Mr. Puri, who is so renowned in a different cultural tradition?

MIRREN:  Yes, different, but very similar.  The interesting thing is, especially the generation that Om is from, there was a great appreciation of English, British English, because of the connection, obviously, the Raj and so forth.  But there was always, and there still is, a great tradition of classical theater.  I think it was partly why the Brits and the Indians, on certain levels, got on very well together, because especially in the world of theater, there is this classical tradition.  Both of us have done a lot of theater.  So, in a way, Om and I have more in common with each other than maybe I had with Manish, or Charlotte, because they come from a very different sort of acting background.  Having said that, I have to say, they were both just so wonderful to work with.  But Om and I just naturally fell into a rhythm together.  That was very easy for both of us, because we knew of each other’s work.  We had enormous respect for each other.  And also, it’s a great shame Om isn’t here, because you would fall in love with him.  He has this wonderful warmth.  He was the guy who would have the big feasts.  He would cook Indian food for everyone, and make a family feeling on the set.  He created his family, this little family who come to France.  Off the set, he created that family.  He was brilliant.

But it’s strange, because when he plays a bad guy, he is terrifying.

MIRREN:  Oh, I can imagine him being terrifying.  I can imagine.  I haven’t seen that, but I can imagine he would be brilliant at that, too.  But his nature is not that.  His nature is fun, funny and unbelievably warm.  I hate to use the word teddy bear, but he is like that.  You just want to hug him.  He’s that kind of a guy.

Your character in this film has a moment of redemption that carries through.

MIRREN:  Yes.

When you tackle a role and read the script for the first time, and your character is cold, or icy, or mean, or whatever, is it important for you that they have that moment of redemption?  Or was it just a nice touch for this particular film?

MIRREN:  I think it depends, really.  It depends on the nature of the script, and what the script is saying.  If your role, as this awful person, is serving a certain purpose within the script and the story, and you approve of that message, then that’s fine, absolutely.  One services the script the best one can.  In this case, yes, I really wanted to play Madam Mallory because she’s French, and I’m dying to be a French actress, and I’ve never managed it.  It was my pathetic attempt at being a French actress.  But if she’d just been a mean French person, I don’t think I would have gone along with it.  Also, it’s because I think it’s one dimensional.  We’re all a bit paranoid about the French, aren’t we?  I know a lot of Americans are, and they feel so intimidated about the French.  I do feel that too, although I speak good French, so it’s easier for me.  But the French can be very, very intimidating.  And so, this sort of cliché of the cold, judgmental, nasty, uptight French person, I wouldn’t be happy with just portraying that at all.  I’ve lived and worked in Paris, and I’ve met with such kindness in Paris, from people that I didn’t know.  The Parisians seem on the surface to be so, as I said, cold and judgmental, and sort of superior.  But actually, they’re incredibly kindhearted, and generous.  I learned that living in Paris.

When you’re choosing projects to be a part of, what is it that you’re looking for?  Is it the role, the character, the script, the director, the actors?  What was it about this film?

MIRREN:  It’s always a combination of so many different things.  The primary thing is the director.  But a very important element is, is it different enough from anything else I’ve ever done, or what I’ve last done.  Where is it going to be shot, because sometimes you do something just because you want to go to the place that it’s going to be shot, because that sounds like fun.  Then, it’s your co-stars, obviously, and of course, the role.  But there are so many different things, and at different times, different things kick in.  If I’ve just done a big movie like Red 2 , then I crave to do a small, low budget film.

And not carrying a gun.

MIRREN:  (Laughs)  Not carrying a gun.  But you know, just a different type of film.  So I’m always pinging from what I’ve just done to, okay, now I want to do something quite different, if I can find it, and if something comes along that is small and interesting.  And then, it’s a couple of those, and “Okay, Red 3 .”  (Laughs)

What’s the root of the fascination with wanting to be a French actress?

MIRREN:  I think that was to do with growing up in England in the early 60s, mid-60s, when everything French seemed to be so chic and so fabulous, and everything English was so dull.  I never really got into the Swinging 60s of England.  The French always seemed to be so chic.  The food was better, the clothes were better, the makeup was better, the hair was better.  Everything was better in France.  And they were suntanned, when we were always white and crinkly.  My husband says I’ve got an inferiority complex as far as the French are concerned.  I think he’s right, to a certain extent.  He’s absolutely right.  The whole world has evened out somewhat.  But even so, there’s still a level of pure chicness in France that you just don’t see anywhere else.

Are you using the word ‘chic’ specifically because they invented the language of class?

MIRREN:  Yes.  In the food, and in the art, and in their attitude of being French. 

Coming of age in the 60s, with the French New Wave and all of that, I’m very curious if there’s a movie that still resonates with you, that you can watch again and again from that period?  Or is there a French movie in general that you just are in love with?

MIRREN:  Yes, of course.  Absolutely.  I love French film.  Well, actually, L’Atalante , and also the Jean Vigo films, and the Jean Renoir films are the ones that I love the most.  L’Atalante , I think is Vigo, isn’t it?

I think so.

MIRREN:  Yes, I think that’s Vigo.  But those are the ones that just make my heart swell in some peculiar way, and I think those are all tied up with what Woody Allen targeted in his film ( Midnight in Paris ).  It’s the Belle Époque.  That’s that whole fantasy dream of the Belle Époque in France, Toulouse Lautrec, and Renoir, and that whole world I somehow find very romantic and very moving to me.

Can you actually cook?  Or are you just a tremendously engaging fake in this?

MIRREN:  I’m an engaging fake.  Luckily, in the movie, I don’t cook.  I run the restaurant.  She knows food, and understands food, and employs very, very good chefs.  She doesn’t actually cook herself.  She tastes and judges.  But luckily, she doesn’t cook, because I would reveal myself very rapidly to be somewhat inept.  The only thing I have to do is to break eggs.

One-handed, nonetheless.

MIRREN:  One-handed.  I do it one-handed, because I thought that looked cool.

Something I absolutely cannot stand in movies is when people eat out loud.

MIRREN:  Oh, gosh, I couldn’t agree more.

And all of you did it so well.  Could you please teach your colleagues how to eat on film without being disgusting?

MIRREN:  How to eat on film.  Yes, you’re quite right.  I couldn’t agree more.  I hate people eating on film.  I hate it even worse on the radio, when people eat on the radio.  I just can’t stand it.  In England, we’re mad enough to do cookery programs on the radio, which is ridiculous when you think about it.  “Oh, how are you breaking the eggs?”  But yes, I do agree that some things are disgusting.  I feel a bit like kissing on film is probably a bit disgusting.  I feel as if I’ve suddenly become a 13 year old teenage boy.  But yes, you have to do it very silently, I guess.

What should viewers take away as the message of this film, in your opinion?

MIRREN:  Well, love thy neighbor.  And that’s the hardest.  It’s much more difficult than do not covet thy neighbor’s wife.  (Laughs)  That’s easy.  Love thy neighbor is difficult.  That’s why everybody - wars, you know.  It’s the hardest.  And it’s the most important.  And respect thy neighbor.  Love and respect.  It means respect, really.  Respect thy neighbor.  Respect the other, the different.

I heard that you might be working with Bryan Cranston on Trumbo ?

MIRREN:  Yes.  Yes.  Yes.

Is that coming up for you later this year?

Have you seen Breaking Bad ?  Are you a fan?

MIRREN:  Of course, I’ve seen Breaking Bad .  Of course I have, absolutely.  But I was a fan, I have to say, before Breaking Bad, and what an amazing story that is.  I just saw Bryan recently in LBJ on Broadway.  He was incredible.  He’s one of the great American actors.  For so many years, he was just brilliant, always brilliant, in any role he played.  He was absolutely brilliant.  But people just didn’t understand, for so many years, the level of his brilliance, I guess.  Thank God Breaking Bad came along and revealed to the world, and now we have this treasure.  It’s very exciting.

You mentioned how you always want to do something different.  What is it about the project that excites you?  Was it Bryan?

MIRREN:  It’s Bryan.  Oh, no, absolutely, it’s Bryan.  Not that I particularly act with him in this movie.  I do play a horrible person, unremittingly horrible, basically.  But yes, it was Bryan.

You’ve worked with some of the great directors of all time.  What is it that you’re looking for from a director when you’re acting on set, and what was it that Mr. Lasse Hallström was able to bring to this project?

MIRREN:  What you want is a comfortable environment that you feel you can invent in.  Again, as I said, because film is such a lumbering, technical, huge, great Neanderthal thing, it’s hard to create that little space of peace, and calm, and creativity, and ease.  That’s what you want the director to create for you, so that when you walk on the set, you forget all of that, and the fact that it’s costing gazillions of dollars a second.  But here you are now.  You’re in your little playground, and you can invent and be free.  And it’s encouragement, really.  It’s as simple as that.  I know it’s pathetic that we need to be encouraged, but we do.  I was just working.  In fact, I’m still in the middle of working on a film called Woman in Gold , directed by Simon Curtis, who worked as my assistant many, many years ago.  He started doing my fan mail, and now he’s my director.  (Laughs)  You do have to be very nice to people on the way up, because you never know. 

What’s that dynamic like, working with him now?

MIRREN:  You know, Taylor asked me that.  I said, “He’s not my assistant.  He’s my director.”  I said to Taylor, “You know, it’s interesting, now since being married to you for so many years, if my director is a 16-year-old girl, or boy, or whatever, my director is my director, and I give them all the respect and the attention that [they deserve].  It doesn’t matter what age they are or anything.”  If you sign up, then you sign up to this director.  My feeling is that you should just say, “Okay, you know, this is your project.  How can I serve your project?” because that’s what the relationship is, it seems to me.  Of course, within that, you contribute hugely, and you bring your ideas, and your invention, and all the rest of it, and that’s your job.  But I think film is a director’s medium, surely.  Anyway, so no, he’s my director.

What would your hypothetical last meal be - but since that implies you did something worthy of execution, let’s just ask - what would your perfect meal be?

MIRREN:  No, I’m going to tell you what my last meal would be.  My last meal would be a dish that you get in Madrid, called huevos estrellados.  Are any of you Spanish, or live in Madrid?  It’s basically chips, fried potatoes, with egg.  It’s like fried egg and chips, basically, but it’s done in a particular way that is so delicious, so fantastic.  I would have huevos estrellados.

• Helen Mirren
• The Hundred-Foot Journey

RENEWED FOR SEASON 3 |  2022 EMMY WINNER | 2023 EMMY NOMINEE

100 foot wave, 2 seasons | 12 episodes | tv-14.

Legend Garrett McNamara, his world-class surfing peers, and some surprising newcomers continue to push the boundaries of their sport and the limits of their minds and bodies. The one constant for these extreme athletes is contending with the highs and lows of their perilous and unpredictable lifestyle in which every big wave has the potential to write a dramatic new chapter in their personal stories. With a mix of intimate interviews, verité scenes and personal archive, as well as stunning aerial, water-based and underwater footage from the Emmy-winning cinematography team, the series captures a world unlike any other.

It's All Here

Journey to the 100 Foot Wave

Garrett and Nicole McNamara, executive producer Joe Lewis, and director Chris Smith discuss the lengths, effort, and strength that went into telling this story over several years.

1 . Chapter I - Sea Monsters

After discovering Nazaré, Portugal’s monstrous swells, pro surfer Garrett McNamara sets out to achieve his dream of riding a 100-foot wave.

2 . Chapter II - We're Not Surfers

Despite unexpected setbacks during their second season in Nazaré, Garrett catches a wave that changes everything.

3 . Chapter III - Mavericks

Brazilian surfers new to Nazaré fail to heed safety advice, while Garrett's own appearance at a big wave competition takes a dark turn.

4 . Chapter IV - Dancing With God

In 2017, Nazaré’s largest swell to date paves the way for a broken record -- and a broken back.

5 . Chapter V - The Circus

As the world's top surfers arrive in Nazaré for the WSL’s Tow Surfing Challenge, Garrett grows concerned over proposed safety measures.​

6 . Chapter VI - Icarus

After the WSL competition abruptly ends, the athletes reflect on their beloved, unpredictable sport. Later, Garrett attempts to surf again.

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