Reflections on “Babette’s
Feast” (1987)
Written and directed by
Gabriel Axel from the short story by Karen Blixen
Starring Stéphane Audran,
Brigitte Federspiel and Bodil Kjer
This is the story of two
elderly Danish spinster sisters (Martine and Filippa) who devote themselves to
the principles of a religious sect founded by their father in Jutland, and
their housekeeper Babette, a refugee from revolutionary Paris, who insists on
providing and preparing a high-quality French dinner for friends of her
benefactors when she wins 10,000 francs in the French lottery.
The film quickly
establishes the pious superiority of the spiritual over the physical in terms
of the sisters’ rejection of relationships and pursuit of ambition (and
development of talent) to focus instead on good and charitable works within the
confines of their small religious community which embody the teachings of their
beloved (though long since deceased) father.
Perhaps because of the
absence of their righteous, idealistic and domineering spiritual leader, cracks
are beginning to show in the spiritual love his “disciples” display to one
another as past deeds and wrongs are recalled and old feelings of resentment
and anger are evoked. It seems that focus on the spiritual alone can lead to
obsessive and mean-spirited behaviour when there is no balance based on physical experience and compassion.
Babette’s feast, with its
emphasis on food, drink, taste, smell and sensory pleasure surely represents
the physical side of life and suggests we should indulge our senses and
appreciate what sensory delights life has to offer.
After the feast the
villagers are far more content, understanding and tolerant, despite misgivings
and a determination to remain true to their principles by refusing to recognise
or discuss what they experience during the meal. This suggests that a person is
complete only when he/she recognises and accepts both aspects of his/her
existence – the spiritual and the physical. In this way he/she will know
fulfilment rather than simply deny half his/her nature.
We may require the “soul”
(or that which is spiritual) to exercise control and reflect upon our actions,
but indulging the senses and gaining physical experience lends knowledge and
perspective to the spiritual, and encourages understanding and compassion. It
is, after all, easy to adopt a haughty moral or spiritual stance if you have
never acceded to the possibility of physical temptation – such a stance
requires no strength if temptation is not even recognised or if it is avoided.
Nature and all its gifts should be appreciated and, combined with reflection
and consideration, is a source of socialisation, tolerance and kindness.
The sisters (and indeed
all of their father’s congregation) seem to be driven by a desire to evolve
spiritually, but with the physical playing a minimal role in that evolution.
Yet their lives are enriched by contact with the world outside their small
Jutland village, especially by those who visit their community. Lorens, Achille
and of course Babette all add something to their lives – Babette’s everyday
preparation of food for the poor and infirm is much appreciated by her clients
and indeed they are sorely disappointed and upset when Babette takes her leave
for a few days and their food is once again prepared by the charitable but less
talented sisters. Despite their insistence on the superiority (and perhaps even
the sufficiency) of the spiritual, their rather restricted lives are clearly
enhanced by encounters of a more physical nature.
That said, after the
French dinner, as Lorens is saying his farewells to Martine, he makes it clear
that true love does not require a physical aspect to blossom and endure.
Toward the end, as
Babette has used her entire lottery win of 10,000 francs to fund her French
dinner, it is pointed out to her that she will remain poor for the rest of her
life, to which she replies “An artist is never poor.” Presumably, this is to
suggest an artist is spiritually rich in talent and skills, talent and skills
which lead to fulfilment and a sense of completeness, especially when shared
with others. Babette appears to have sacrificed her future for her fellow
villagers, but in so doing she has also gained spiritual joy and satisfaction
for herself in exercising her artistry with food which, in turn, brings to the
fore humanity and a sense of spiritual well-being in others.
Of course, there is also
the existential link connecting the main characters – each has an influence on
others, though each acts of his/her own volition.
Martine and Filippa
devote their lives to caring for the weak and the poor, and to maintaining the
principles established by their pastor father. They deny themselves
opportunities to cultivate life-paths or careers that might conflict with these
principles, though they appreciate and savour their “foreign” encounters with
Lorens and Achille in particular. In a sense, these encounters only strengthen
their resolve and affirm their faith, but they are nonetheless touched and
affected by these meetings and potential life choices.
Achille knew considerable
success but this has now faded, and with it his celebrity and position. His
greatest achievement, however, may have been to direct Babette toward the
sisters’ home (due in no small part to the affection and admiration he
developed for Filippa as he shared his talent and skills with her) at a time
when Babette’s world crumbled around her. This act of thoughtfulness and
consideration undoubtedly saved Babette’s life and positively influenced the
lives of all those in the Jutland village. It also provides further
illustration of the principle that an artist is never poor when he/she shares
his/her talent, and this leads to a spreading of humanity and compassion while
allowing the initiator to feel a certain fulfilment and satisfaction.
Lorens becomes a
celebrated and influential General largely due to the apparent impossibility of
a relationship with Martine, though in the end he appears to value his enduring
love and devotion for her above his career and all he has achieved.
At one point in the film
it is stated “We take with us only what we give away”, suggesting perhaps that
what we do for others is all that matters, and this is borne out by the actions
and attitudes of the main characters.
Much has been made of
religious connotations in the work – Christian forgiveness at a last supper
attended by 12 disciples etc, but I would suggest that the film’s principal
strength is in its fundamental message to embrace the duality of our natures in
order to achieve fulfilment, while bearing in mind the existential influence we
may exercise on others in our dealings with them.
My thanks for taking the
time to read this page. I hope you found it of some value.
Stuart Fernie
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