Babettes Gaestebud (Babette's Feast)

This is why we cinema. Sweet, pretty, calm, strong, emotional.....the superlatives roll out but the only fair description of this on-the-surface simple and underpowered (1987) tale is the film itself.
We are told the story in the form of an unknown narrator's tale, which as a framing device gives the piece a fable-like simplicity. This sets up the action for its clear and almost childlike instructiveness. There is an almost Bressonian reticence in the characters acting styles, how the audience is invited to read in what they will. This is mirrored in the camerawork, which has scenes of a decent length, shot from a decent angle, ready to alight on character's to create visual montage narrative without drawing attention to itself. The shooting techniques are very much in the simple style of the story.
As are the backdrops, the white wall and the repitious uses of certain locations and ceremonies. All emphasise the Puritan life. It's not the edge of doing so, but doesn't mock the religion. Indeed, the film at times acts almost as a celebration of it, the beauty that we come to understand encompasses so much more than austerity.
In austerity it also lies, for the early courtship scenes are lessons in pacing. The emotional impact sneaks up on the viewer, in characters who have barely said a word we come to understand the strong underflow of emotions, and the memories of losses. While the film does have its humour, its gentle humour, the characters never turn into comic archetypes, but retain through their lack of open display a humanist integrity.
This films gentleness also though comes to reveal a strength, as within what could be almost a child's tale we come to see the edges, the strong emotions. There is an unbearably moving scene of the old hussar (the use of the elderly characters is a delight, a sadly unusual surprise). In simple things do the most powerful dwell.
This film sneaks around the edges of wider points, of the falsity of outside society and its attempts of imposition on the puritan community. It does not really focus in on these, focussing instead on a very small milleu, meaning the talk of France and so on is mildly ectraneous. This doesn't really take much away.
The vast majority of the films increasing humour strikes well with the narrative, but the end we have a wonderful mix. This is a simple film, and in its simplicity are the greatest depths. Overwhelming romance carried out through reticence, gentle happiness. A film to treasure. Mercy, indeed, is infinte.