This post contains minor spoilers. Not enough to ruin the film, but more than I would usually give, so proceed at your own risk!
Burnt is one of those great little films that really gets around your prediction instinct. The plot, in a way, is really quite predictable, but it disguises itself exceptionally well.
Essentially, the film is based on the formula for an action film. It utilises the late twentieth century chronotope of the gruff and superficially unpersonable hero, but casts him as a chef with a questionable history of drug use and alcoholism, determined to prove his value, in this instance, by attaining a third Michelin Star.
Bradley Cooper, of course is the perfect man for the job. Cooper embodies the masculine stereotype, but both his manner and his filmography allow him the leeway to delve into more unexpected waters, particularly as a sensitive and relatively accepting human being.
He is supported in this endeavour by much more nuanced casting. As a heroine, Helene (Sienna Miller) makes a shrewish entrance and, though following a similar trajectory to Shakespeare’s Kate, develops in a much more textured manner to matching Cooper’s Adam. Daniel Bruhl completes a love triangle, with his character Tony engaging with Adam’s obnoxious quest out of an unrequited love. His depiction of this character is exciting in being so understated. Neither his appearance, nor his portrayal of Tony rely on gay stereotypes, and it is refreshing to see such a subtle portrayal of a queer character, especially when the character’s orientation is a key element of the plot.
Burnt may not be a brilliant film, it may not boast spectacular dialogue or a unique plot arc, but it does surprise with some beautifully drawn characters and the perfect ending.
Foyer Talk 