hundred foot journey screenplay

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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 Kadam family leaves India for France where they open a restaurant directly across the road from Madame Mallory's Michelin-starred eatery. The Kadam family leaves India for France where they open a restaurant directly across the road from Madame Mallory's Michelin-starred eatery.

• Lasse Hallström
• Steven Knight
• Richard C. Morais
• Helen Mirren
• Manish Dayal
• 266 User reviews
• 185 Critic reviews
• 55 Metascore
• 2 wins & 4 nominations

• Madame Mallory

• Jean-Pierre

• Mayor's Wife

• Swedish Chef
• Baleine Grise Porter

• Hassan (7 years old)
• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia Om Puri (Papa) was called "Papa" by the cast. He also moved out of the hotel they all stayed in so that he would have a place to cook for them.
• Goofs When Hassan is first making the 5 main French sauces, he is is mixing egg yolks in a bowl and adding oil and something that looks like mustard. He is making mayonnaise, not one of the sauces. Hollandaise, the one sauce out of the five made with yolks, is made in a bowl over steaming water and adding clarified butter.

Madame Mallory : What is this flavor that is fighting against the chicken ?

Hassan : I added some spices for flavor to the sauce, and coriander for garnish and freshness.

Madame Mallory : But why change a recipe that is 200 years old ?

Hassan : Because, madam, maybe 200 years is long enough.

• Connections Featured in The Tonight Show Starring Jimmy Fallon: Helen Mirren/James Cameron/Spoon (2014)
• Soundtracks Afreen Music by A.R. Rahman Lyrics by Gulzar Performed by Nakash Aziz , A.R. Rahman and the KM Sufi Ensemble

User reviews 266

• Aug 7, 2014
• How long is The Hundred-Foot Journey? Powered by Alexa
• August 8, 2014 (United States)
• United States
• United Arab Emirates
• Hành Trình Trăm Bước
• Castelnau-de-Lévis, Tarn, France (Lumière, Restaurants)
• Amblin Entertainment
• Dreamworks Pictures
• Harpo Films
• See more company credits at IMDbPro
• $22,000,000 (estimated)
• $54,240,821
• $10,979,290
• Aug 10, 2014
• $89,514,502

Technical specs

• Runtime 2 hours 2 minutes
• Dolby Digital

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Tag: The Hundred-Foot Journey screenplay

The hundred-foot journey script.

• The Hundred-Foot Journey Script PDF - [4-26-2013 POLISH] at Script Fly ($)
• The Hundred-Foot Journey Transcript at scripts.com

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The Hundred-Foot Journey (film)

2014 film by lasse hallström / from wikipedia, the free encyclopedia, dear wikiwand ai, let's keep it short by simply answering these key questions:.

Can you list the top facts and stats about The Hundred-Foot Journey (film)?

Summarize this article for a 10 year old

The Hundred-Foot Journey is a 2014 American comedy-drama film directed by Lasse Hallström from a screenplay written by Steven Knight , adapted from Richard C. Morais ' 2010 novel of the same name . [lower-alpha 2] It stars Helen Mirren , Om Puri , Manish Dayal , and Charlotte Le Bon , and is about a battle in a French village between two restaurants that are directly across the street from each other: a new Indian restaurant owned by an Indian emigrant family and an established French restaurant with a Michelin star owned by a French woman.

Produced by Steven Spielberg and Oprah Winfrey for DreamWorks Pictures through their respective production companies, Amblin Entertainment and Harpo Films (first relaunch film), in association with Participant Media and Reliance Entertainment , the film was released by Touchstone Pictures on August 8, 2014, [7] and grossed $89.5 million at the worldwide box office.

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The Hundred-Foot Journey | reviews, news & interviews

The hundred-foot journey, helen mirren goes toe-to-toe with om puri in disney's cinema of cuisine culture clash.

Imagine The Best Exotic Marigold Hotel crossed with Chocolat . That’s The Hundred-Foot Journey in one, meshing a previous success of director Lasse Hallström with the previously neglected but growing genre of 'the mature person's movie'. After all, old folks like food, don’t they? Well, so do young people. Who doesn’t?

The Hundred-Foot Journey is based on the novel by Richard C. Morais and screenplay written by Steven Knight (who wrote and directed the very good Locke with Tom Hardy ) , this is a filmic cuisine culture clash that benefits from a terrific cast and an alluring story. Shot as a visual travelogue that warrants the ticket price, who wouldn’t pay to see the always remarkable Helen Mirren going toe-to-toe with her equal Om Puri in a foodie tale of different traditions from different worlds?

A bit of background, however, first: The Hundred-Foot Journey is from Disney, and produced by Oprah Winfrey and Steven Spielberg. So its tone is expectedly soft, lovely and not so smart that it offends. When the Kadam family flee India after a vague political uprising that nevertheless burns down their restaurant and kills Mrs Kadam, the remaining family piles into a car. Via the UK, they end up in rural France, where their vehicle breaks down. Thank the gods for a young woman - Marguerite (one to watch, Charlotte Le Bon) - who takes them in and introduces them to the wonders of local produce.

The focus switches, pretending to be on the food but really aiming at high profile chefs where sexism is rife

So, the ancient French village of Saint-Antonin-Noble-Val provides a home via an empty restaurant venue for the family to settle, despite their cuisine not being understood or necessarily wanted. When local dislike is made manifest, it’s only “racism lite”, thank heavens, against the little curry house Papa Kadum names 'Maison Mumbai', picked out of the dark Gallic ruins by a lighted sign that has an annoyingly twee flickering letter that never ever gets fixed. The venue is right across from the Michelin-starred establishment of Madame Mallory (Mirren). The noise and spicy smells from the Kadam restaurant are good enough to disturb the control-freak who seeks to get her competitor shut down. 

Of course, something wonderful happens: the young folks begin to cross some borders. The good looking son of Puri, so handsome he’s actually called Hassan (Manish Dayal) and the family's savoir, Mallory's beautiful sous-chef Marguerite, are in competition with each other and also falling in love (best said with a Pepe LePew French accent). Marguerite helps Hassan get ahead by giving him hardcore cookery books in the original French, which, apparently, he can read immediately.

Hassan narrates so much, we must understand that despite all the other characters, this must be his story. The trouble is, he isn't the focus: it switches, pretending to be on the food but really aiming at high profile chefs where sexism is rife, although the number of female chefs at a Michelin standard are growing. There are some surprises tucked in for a rather damp ending.

While The Hundred-Foot Journey isn’t as good as, say, Babette’s Feast , Tampopo or even Ratatouille (which has one spectacular scene in it), it does look amazing thanks to cinematographer Linus Sandgren ( American Hustle and Promised Land ) who shows the beautiful countryside and contrasts the hard kitchen surfaces of Mallory’s restaurant and matches the warm tones of Maison Mumbai’s exotic spices. The food looks great but not as yummy as Favreau's Chef . Still, make sure you eat first.

A safe, pretty film that is only as challenging as it needs to be, The Hundred-Foot Journey is an appropriate drama that cuts across cultural boundaries showing us... not a lot. But it's charming and inoffensive.

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Movie Reviews

Tv/streaming, great movies, chaz's journal, contributors, black writers week, the hundred-foot journey.

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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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• DVD & Streaming

The Hundred-Foot Journey

• Comedy , Drama , Romance

Content Caution

In Theaters

• August 8, 2014
• Helen Mirren as Madame Mallory; Om Puri as Papa; Manish Dayal as Hassan; Charlotte Le Bon as Marguerite; Amit Shah as Mansur; Farzana Dua Elahe as Mahira

Home Release Date

• December 2, 2014
• Lasse Hallström

Distributor

• Walt Disney

Movie Review

Madame Mallory has wished upon a star. A second Michelin star, to be exact.

For 30 years, Madame Mallory’s swanky restaurant has worn its single Michelin star rating as a badge of honor, as well it should. Michelin does not readily dole out its stars. As Madame’s sous chef Marguerite says, one star means the food is good. Two stands for great. “Three is only for the gods.”

The acquisition of those stars requires talent, hard work and single-minded dedication. They do not fall unbidden. And they do not stumble into town along with a pack of loud, uncouth vagabonds. Madame is quite certain of that .

The vagabonds, a certain displaced Indian family—Papa and his grown sons Hassan and Mansur, along with Mansur’s wife and kids—has indeed seen better days. Their restaurant in Mumbai was burned to the ground. Their stay in London was unfruitfully damp. They came to the Continent looking for a fresh start—a chance to open another restaurant and introduce new friends to the spicy, sublime pleasures of Indian cuisine.

France wasn’t initially a contender. They all know that the French have their own food, and it’s said to be pretty good. But when the brakes go out on their dump of a vehicle (just outside Madame Mallory’s village) and Papa stumbles upon a property just perfect for a restaurant (just across the street from Madame Mallory’s fine dining establishment), he sees it as fate. And so, quicker than Madame can crack eggs for a nice hollandaise, she has boisterous new neighbors—and competitors to boot.

Well. For Madame and her perpetual quest for a second star, this new Indian restaurant is the stuff of nightmare. Its garish decor clashes with her refined sensibility. Indian music now blares over her violin-drenched ambiance. The odor of curry and cardamom overwhelm the subtle scents of her kitchen. She launches a cold war before Papa even opens his restaurant—waged through fish and pigeons and formal complaints to the village leaders.

As Papa and Madame battle and bully each other, Hassan humbly cooks his extraordinary Indian food for guests. Then he retreats to his room and combs through French cookbooks, absorbing the secrets of continental cuisine page by page.

Madame has her eyes fixed on a second Michelin star, but searching for it has blinded her to the quiet culinary light across the street.

Positive Elements

As Hassan’s father and his entrenched French rival escalate their gastronomical disagreement, Hassan tries to turn down the flame. He gives Madame a menu as a friendly gesture (which she uses as a guide to stripping the local market of all the ingredients they need). When Papa strikes back by snapping up the pigeons Madame needs for a special dish for a special guest, Hassan cooks one himself and brings it over as a peace offering. (Madame tastes it and throws it in the trash.) And when he and his family are subjected to racist attacks, Hassan doesn’t get angry or vengeful. He’s single-minded, it would seem, on his quest to bring new tastes to light—and his idea that food can bring people together. (Note that the film is flecked with hints of racism for the purpose of showing the trials Papa and his family must suffer through—and to show us how wrongheaded it all is.)

Food does bring Hassan together with Marguerite. Even though she jokes that Hassan’s now “the enemy,” she helps him hone his talents—loaning him books, giving him tips and tasting his creations. Indeed, it’s her kindness that’s partly to blame for Papa staying in town, having helped tow their car and serving them some pretty amazing local food.

Madame herself proves to be a kinder person than we initially see. When Papa’s restaurant is attacked by vandals who set fire to the building and scrawl racist slogans across the front wall, Madame takes steps to literally mend fences. She fires a culprit who works for her (“You are a chef—I do not pay you to burn things”) and trudges out in the rain to scrub the vile slogans off Papa’s wall.

Madame’s actions lead to a thaw in relations, and we eventually come to see that Hassan was only partly right: Yes, food helped bring these two disparate parties together. But it also took good will, trust and respect—a good recipe for us all to follow.

Spiritual Elements

Papa and his family are not presented as being overtly religious, certainly not in a traditional Indian sense. Hassan’s mother hints at the spiritual while teaching him to cook, saying the things he must kill to create the cuisine become ghosts in the stew, as it were. After this matriarch dies, Papa admits that he still talks with her. He believes his late wife wants (in the present tense) to settle down in the French village and buy the for-sale restaurant. “She says brakes break for a reason,” he tells one of his sons, and later gives Hassan his mother’s spices, saying, “She wants you to have it.” He and others briefly talk about praying and/or heaven.

As mentioned, the Michelin stars are several times casually linked to “gods.” When Hassan seeks Marguerite’s “blessing” for a new culinary adventure, Marguerite snaps that she’s not a saint. “Neither am I,” Hassan says.

Sexual Content

Hassan and Marguerite are rivals, friends and sometimes more. Hassan steals a smooch when they hunt for mushrooms. Later, the two share a passionate kiss in the kitchen. Then the two retreat to another room and emerge a bit later looking a little ruffled.

Madame Mallory holds up a limp asparagus spear to illustrate what her restaurant will not put up with: “Food is not an old, tired marriage,” she says. “It is a passionate affair of the heart.”

Violent Content

We see rioters invading Papa’s restaurant in Mumbai, overturning tables and setting the place on fire. Papa’s wife is caught in the blaze, and we see her surrounded by flames. She dies in the inferno.

In France, racist attackers again try to set Papa’s place ablaze, throwing Molotov cocktails into the building. Papa and the rest extinguish the flames, but not before Hassan’s hands are badly burned and his pant leg catches on fire. An out-of-control car nearly crashes. A bicyclist smashes into a truck. Recited lyrics from the French national anthem reference slit throats and blood flowing in the fields.

Crude or Profane Language

One s-word. One “h—.” Several uses of “bloody.” God’s name is misused a handful of times.

Drug and Alcohol Content

Wine and champagne are integral parts of classic French cuisine, and we see most of these characters drink. When Hassan goes to Paris, he seems to drink more than usual—swallowing wine as he cooks and downing what appears to be a beer after hours. (These particular indulgences are intended to make a statement about Hassan growing more distant from his roots and the things he loves.)

Other Negative Elements

Papa is sometimes not treated with the greatest respect. “I am still head of this family!” he reminds his brood. A kitchen porter is bribed.

Food has always been a unifying agent. We bond over bacon, swap stories over sarsaparilla. When I want to talk with someone about business, we do lunch. If my wife and I want to get together with friends we’ve not seen for a while, we invite ’em for dinner. Almost every social experience I can think of, be it the Super Bowl or Thanksgiving, is at least partly about the food.

Food brings us together.

The Hundred-Foot Journey is about a clash of cultures in which the food becomes a metaphor. Madame Mallory is a picture of elegant cuisine, boasting polished presentation and restrained, subtle vitality. Papa is an embodiment of his beloved Indian tastes—full of forceful flavors and boisterous life. Hassan, in melding these two different gastronomical delights, brings disparate cultures closer together. Both are still distinct and unique. But we realize that each has merit and, when blended, can create a taste heretofore unimagined.

The Hundred-Foot Journey , based on the novel of the same name by Richard C. Morais, is a sweet and savory treat of a film with only hints of content-derived sourness—a love story ragoût of romance, family and food. It stresses the importance of all those things, while suggesting that fame and fortune and even Michelin stars aren’t that filling after all.

Paul Asay has been part of the Plugged In staff since 2007, watching and reviewing roughly 15 quintillion movies and television shows. He’s written for a number of other publications, too, including Time, The Washington Post and Christianity Today. The author of several books, Paul loves to find spirituality in unexpected places, including popular entertainment, and he loves all things superhero. His vices include James Bond films, Mountain Dew and terrible B-grade movies. He’s married, has two children and a neurotic dog, runs marathons on occasion and hopes to someday own his own tuxedo. Feel free to follow him on Twitter @AsayPaul.

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The Hundred-Foot Journey

A story centered on an Indian family who moves to France and opens an eatery across the street from a Michelin-starred French restaurant run by Madame Mallory.

The Hundred-Foot Journey

Helen Mirren’s 100-foot journey

by David Luhrssen

Aug. 14, 2014

Older audiences received short shrift for decades from the movie industry. Lately, aging Baby Boomers have flexed their wallets and producers in Hollywood (and its outskirts) are responding. Alongside significant films such as Alexander Payne’s About Schmidt and Nebraska comes a genre we’ll call middle-class 60-plus comedy. With its whimsical story of retirees in India, The Best Exotic Marigold Hotel set the stage. Land Ho! , an oldster buddy-road picture, is on its way to a theater near you. Meanwhile, Steven Spielberg and Oprah Winfrey co-present The Hundred-Foot Journey , in which civilizations clash and resolve, hearts beat as one and a touch of curry adds spice to the bouillabaisse.

Based on the novel by Richard C. Morais, The Hundred-Foot Journey can be called a tale of two culinary cultures represented by veteran chefs, Madame Mallory (Helen Mirren) and Papa Kadam (Om Puri), warring over market shares in a picturesque village in the south of France. Mallory, the proprietor of a fine French restaurant (with a coveted Michelin star), looks down her nose at the boisterous Kadam family, recent arrivals from India, whose Papa is determined to introduce the town to the delights of tandoori. The nerve of those people opening a little Taj Mahal across the road from her venerable establishment!

The screenplay wanes after awhile. The plot is predictable, including the inevitable attraction-repulsion between Mallory’s delightful sous chef Marguerite (Charlotte Le Bon) and Papa’s strapping son Hassan (Manish Dayal). The journey across the 100-foot divide of prejudice and mutual suspicion measured by the road separating the two restaurants is smoothed over with remarkable ease. And yet, The Hundred-Foot Journey has many funny moments and two great actors, Mirren in full snoot and Puri in prideful bluster, facing off only to…well, let’s not give away the ending.

Many of the film’s best moments are spent in the competing kitchens; that bag of popcorn on your lap will offer slight compensation for the pangs of hunger induced by fine French and Indian cooking.

© 2024 Shepherd Express. All Rights Reserved.

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“The Hundred Foot Journey” Case Study

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Introduction

Analysis of the hundred-foot journey, purpose of the movie, production house, treatment and style of the movie, narrative structure, intended audience, reaction of viewers.

Marshall McLuhan is an established entity in the philosophy field. The philosopher of Canadian origin dealt with public rational and the concept of communication. The foundation of the media and concept theory generated from his unending research and argument on the importance and significance of the theory in communication (Jandt, 2012). The scholar presented an advanced explanation of the achievements of media theory and the facilitation of the Web worldwide decades before their inventions. This illustrates on the degree of knowledge and academic acquaintance gathered by Marshall McLuhan during his research and analytical period in philosophy.

According to McLuhan, the ‘contact zone’ signified a section or region where different groups with a common goal join to facilitate an understanding, interaction and recognition of information, art, communication, technology and media. This means that the ‘contact zone’ establishment is aimed at distributing dormant information into useful and understandable content to the world. This sharing and facilitation of information transfer is properly achieved through media and other forms of communication fields (McLuhan & Fiore, 1967).

This case study aims at analyzing the concept founded by McLuhan and the significance of his research hypothesis to the current media and communication fraternity. The media theory experienced a lot of controversial sentiments during the reign of McLuhan and years after his death. This resulted from the significance of his observation on the importance of devoted personnel and entities acting as the media to share and distribute gathered information to the different regions of the world. Research indicates that media theory and concept from the philosopher has currently gained recognition due to the establishment of social media (McLuhan & Fiore, 1967). This growth represents assured and reliable source of information for research and local use.

The movie, ‘The Hundred-Foot Journey,’ is based on an American setting and cast. Steven Knight and Lasse Hallstrom act as the screenplay writer and director of the movie respectively. The movie illustrates the operation of two individual restaurants.

One restaurant is owned and operated by an Indian investor while the other is operated by a French native. The hilarious connections between the two operators of the restaurants and their customers produce an amazing masterpiece. The plot of the movie shows how the families of Kadam who are Indians operate their family restaurant in Mumbai. Hassan who is the second son in the family is established as the successor of his mother as the cook in the restaurant. However, the occurrence of burglary in the restaurant results in the death of Hassan’s mother from the attack. This results to their relocation due to political imbalance and insecurity issues in the area.

Kadam and his family migrate to Europe in search of an ideal area to set up their restaurant business. A mechanical default makes them to stop in France on their way to Mainland Europe. Marguerite who is a chef in a French restaurant offers assistance to the Kadam family. The food offered to the guests is poorly cooked and served when cold. Kadam is astonished on the quality of the food and the level of service offered by Marguerite who is allegedly one of the cooks at a local restaurant.

This triggers the urge to find a restaurant in the surround since the competition offered in France on the service and quality of food in the restaurants failed to impress Kadam. Luckily, he finds a restaurant opposite the ‘weeping willow’ which is a local restaurant and names it ‘Maison Mumbai’. The beginning of rivalry between Mallory and Kadam who are the owners of the restaurants begin when Mallory’s chefs spray Kadams restaurant with words which signified that they were not welcomed in the area (Jandt, 2012).

The result of the confrontation between Mallory and Kadam results to the destruction of the restaurant and Hassan gets injured in the process. Jean-Pierre who vandalizes the restaurant is fired and the two agree on Hassan working for Mallory since he prepares her a delicious omelet. The acquisition of Hassan by Mallory’s restaurant earns the restaurant numerous customers and recognition. This leads to the enrollment of Hassan as a chef in a recognized restaurant country wide.

This results to a mutual relationship and understanding between Kadam and Mallory who in the beginning were enemies. The outstanding performance by Hassan in the preparation and serving of meals earns him more recognition in Paris. However, the chef feels lonely because of the distance between him, his family and Marguerite who had already become his lover. Due to the inconveniences of long distance relationship, Hassan decides to return home and ventures into business together with Marguerite.

The production of ‘The Hundred-Foot Journey (2014) movie’ was made to assist in the illustration of the significance of the different cultures and the availability of conflicts based on cultural and racial grounds. From the beginning of the movie, the lack of communication and distribution of information using the ‘contact zone’ aspect fails to be established (Wood, 2011). Kadam and his family depend on luck in the establishment on a new business and fail to gather advanced information in the beginning on availability of greener pastures. From the case study, a conclusion can be drawn that Hassan’s success resulted from the distribution and sharing of information about his prowess in cooking.

This uplifted his salary, social and economic lifestyle since he earned an employment in a recognized restaurant in Paris where he still earned fame and acknowledgement. The screenplay writer and the director of the movie together with their allies made a profound statement on the need to facilitate the media law. The ‘contact zone’ is well established in how it lacks in the beginning of the film and its significant achievements.

The production house consisted of well established crew members like Juliet Blake, Steven Knight, Oprah Winfrey and Steven Spielberg. The directors of the film had a high dedication on their research and made an appropriate base for the film. According to research, food acts as a cultural foundation of different cultures and the sharing of different foods from different areas allows intercultural cohesion and understanding (Pratt, 2011). Different groups with a common goal join to facilitate an understanding, interaction and recognition of information, art, communication, technology and media. This shows that the different cultural aspects shown in the film resulted in a common understanding at the end and cohesion with strong and promising results.

The movie contains exceptional style of production and screenplay writing. In addition, the actors produced an excellent performance. Research indicates that media theory and concept from the philosopher has currently gained recognition due to the establishment of social media.

The movie illustrates the operation of two individual restaurants (Pratt, 2011). One restaurant is owned and operated by an Indian investor while the other is operated by a French native. The hilarious connections between the two operators of the restaurants and their customers produce an amazing masterpiece. From the illustration of the ‘contact zone’, the actors played their roles to indicate on the occurrences witnessed in different parts of the world due to differences in social, political and racial status.

The presentation of the film by its production team to feature ideas to the viewers represents a sufficient narrative structure. The narrative structure of this movie starts from its plot and the themes represented in the entire film. In addition, the resolution of the movie gives clarity to the viewers in information delivery (Pratt, 2011). Research indicates that media theory and concept from the philosopher has currently gained recognition due to the establishment of social media. This growth represents assured and reliable source of information for research and local use.

The film is intended to be watched by the different social classes from all regions. From the basic understanding of the movie, it was meant to affirm McLuhan’s theory on media and contact zone. This acts as a founding revelation of how food can be shared between individuals of different cultures in a mutual understanding (Comninou, 2007).

The different viewers gave different controversial feedbacks after the release of the movie. The French community disregarded the film because of the racial acknowledgement made in the film and due to the discrimination portrayed in the movie. It can be concluded that the audience shared different individual sentiments and acceptance to the movie after its release.

In conclusion, it is clear that that the ‘contact zone’ establishment is aimed at distributing dormant information into useful and understandable content to the world (Comninou, 2007). This sharing and facilitation of information transfer is properly achieved through media and other forms of communication fields.

Comninou, M. (2007). Interface crack with friction in the contact zone. Journal of Applied Mechanics , 44(4), 780-781. Web.

Jandt, F. E. (2012). An introduction to intercultural communication: Identities in a global community . Sage Publications. Web.

McLuhan, M., & Fiore, Q. (1967). The medium is the message. New York , 123, 126-128. Web.

Pratt, M. L. (2011). Arts of the contact zone. Profession , 33-40. Web.

Wood, J. F. (2011). An Introduction to Intercultural Communication: Identities in a Global Community. Journal of Intercultural Communication Research , 40 (2), 173-175. Web.

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IvyPanda. (2020, July 1). "The Hundred Foot Journey". https://ivypanda.com/essays/the-hundred-foot-journey/

"The Hundred Foot Journey." IvyPanda , 1 July 2020, ivypanda.com/essays/the-hundred-foot-journey/.

IvyPanda . (2020) '"The Hundred Foot Journey"'. 1 July.

IvyPanda . 2020. "The Hundred Foot Journey." July 1, 2020. https://ivypanda.com/essays/the-hundred-foot-journey/.

1. IvyPanda . "The Hundred Foot Journey." July 1, 2020. https://ivypanda.com/essays/the-hundred-foot-journey/.

Bibliography

IvyPanda . "The Hundred Foot Journey." July 1, 2020. https://ivypanda.com/essays/the-hundred-foot-journey/.