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The feast of the title doesn’t purchase location until well into the film. In fact, the majority of the film is spent telling the sage of 2 godly sisters and the choices they made in life. Both sisters passed up fair savor and the promise of success in order to remain faithful to their religious beliefs. Instead they pass their lives assisting their minister father and carry on his work after his death. They continue their aloof lives past mid-life until one of the sisters’ traditional suitors sends them a Parisian refugee, Babette. Babette spends 14 years with the sisters as cook, her only link to her passe life being a lottery imprint that a friend in Paris renews for her every year. One day she wins the lottery and decides to exhaust the money to prepare a sumptous dinner for the sisters and their minute congregation. More than unbiased an epicurean delight the feast is an outpouring of Babette’s gratitude.

If the region sounds thin, be assured it’s anything but. The memoir is as rich and satisfying as the feast Babette prepares. We notice the gorgeous romances that acquire for each sister and understand their reasons for turning their suitors away. We behold the lives the sisters, and their men, have led after making their decision. The feast comes at a time when the sisters are asking themselves questions that they never voice: Did they produce the moral decision all those years ago? Was it worth it? Reassurance comes in an unexpected and exquisitely romanitc blueprint.

This film is such a incredible example of what happens when filmmakers are alive to in telling a top-notch anecdote and telling it well. It doesn’t follow a ‘formula’ or cater to a demographic and is a perfect example of why independent and foreign films are so mighty more satisfying than Hollywood movies.

For years I had heard that this was a capable movie, but I resisted seeing it. How could a Danish movie about a dinner be all that compelling? I finally broke down and rented it – and watched it, timorous. This is truly a stout film.

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The fable is simple. Two pious Danish sisters hire a French maid, Babette, out of a sense of charity. Fourteen years later, Babette wins the lottery. Out of her winnings, she proposes to succor the sisters and their fellow religionists a meal.

The film is simple. And like all things that are truly simple, it is a very, very rich feast.

The film can be enjoyed on many levels, but it is an overtly Christian film; and the feast is the Lord’s Supper. Babette’s gift to the sisters and their community is the gift of grace. Unasked for, unearned, and of inestimable value.

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The sisters were daughters of a stern Protestant who had formed a devout community. When the sisters were young and graceful, they were each tempted by the chance to have immense worship and success outside their community. But they remained real to their father and their faith. After their father died, they carried on with their faith community. But as the years passed by, bickering and dissension region in.

One rainy day, there is a knock on the door and Babette appears in their doorway. She has a letter of introduction from one of the sister’s venerable treasure, and they resolve to steal her in. Babette quietly makes herself famous to the sisters and the entire village. One day, she wins the lottery, and the sisters recall that she will now leave them. Before leaving them, however, she insists on serving them a superb French meal.

The meal itself is the center of the film, and during that meal all the threads of the film are richly woven together. The pious sisters and their community finally learn the apt depths of faith – something which is more than impartial what we enjoy, but rather also reflects what we do and the savor with which we do it. They are twelve to supper, and that number is no accident. Nor is the grace that flows through that meal. Any Christian can be pleased its significance. And anyone who loves the Eucharist can only smile in joy, when one of the guests identifies the main dish as “Caille en Sarcophage” (Quail in a sarcophagus.) He retails a tale of the time he ate this incredible meal in a elegant Parisian restaurant. The other guests smile, but miss his drift. And he exclaims, “But this really *is* Caille en Sarcophage!” They unexcited do not understand, but the meal works its magic nonetheless.

This is a film of the sacramental vision – God’s rich admire reaching out to us body and soul.
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