Chevalier

Lacking more than surface-level depth and insight into its subject, Chevalier curiously is more noteworthy for its sights than sounds.

This lively biopic examines the life of obscure 18th century composer Joseph Bologne through a progressive contemporary lens, with a richly textured performance by Kelvin Harrison Jr. managing to offset some of the more heavy-handed melodramatic tendencies.

Bologne, later anointed as the Chevalier de Saint-Georges, is a violin prodigy and elite fencer enrolled in an affluent Parisian private school by his well-connected father, where he quickly becomes ostracized.

That’s because, unfortunately, he stands out for more than just his talent as a biracial child born to a former slave (Ronke Adekoluejo) from the French island territory of Guadeloupe. While he dazzles with the bow and the baton, racial barriers prevent him from achieving the fame and fortune he deserves.

Soft-spoken yet brash and magnetic, he becomes a nobleman on the fringes of high society, living comfortably yet privately struggling to embrace his heritage and reconcile with his past.

Bologne is initially reluctant to use his platform and popularity to spur social change, preferring instead to focus on his work. That changes when he meets Marie-Josephine (Samara Weaving), an alluring young singer who agrees to star in his debut opera. But their resulting clandestine love affair causes obvious friction, especially when Marie-Josephine’s vengeful military husband (Marton Csokas) returns.

Although the period re-creation is evocative, veteran television director Stephen Williams (“Lost”) eschews the pitfalls of stuffy costume drama with a subversive attitude to the storytelling.

However, the embellished screenplay takes a blandly revisionist historical approach, oversimplifying some factual details while sprinkling anachronistic dialogue or incongruous accents, and name-dropping Mozart and Marie Antoinette.

Despite some lovely musical sequences, the film is too eager to fit Bologne’s story into the framework of a mainstream inspirational crowd-pleaser about overcoming oppression and intolerance. It lacks subtlety and surprise while missing an opportunity to explore his creative process or artistic inspiration.

Harrison (Waves) showcases his versatility with a spirited portrayal in the title role, but many of the periphery characters lack the same level of complexity.

Hopefully, Chevalier will introduce a new generation of fans to Bologne and his music — which is the point, after all — even if it only intermittently finds its rhythm.

Rated PG-13, 107 minutes.