What makes a movie outstanding? Its actors? The plot? An open, inconclusive ending? Or is it the confidence portrayed in its subtlety? Confidence. Yes. Maybe it is this quality of the filmmaker - who does not seek desperate measures to sell his movie that makes it timeless and always appealing.
Big Night is a movie that makes its audiences think so many things and at the same time, leaves them at a loss for words to express those thoughts. It is not a movie about food as we all believe it to be. It’s not a movie about immigrants trying to make a living. It certainly is not about two guys trying to revive a restaurant that is close to bankruptcy. Instead, Big Night is a movie about two brothers, their culinary pride, and affection for each other. About their sincerity, principles, and then in some places, their flaws... It’s about the conflict between the ‘right way’ and the ‘profitable way;’ the choice of either maintaining ‘authenticity’ or counterfeiting recipes in order to suit local tastes. It’s almost about taking a stand for who you are … and losing.
The movie is set in New York in the 1950’s, with its protagonists Primo (Tony Shalhoub) and his younger brother, named Secondo (Stanley Tucci) running an authentic Italian restaurant called ‘The Paradise.’ Primo is an excellent Chef, a fact well known by him, Secondo and even by Pascal (Ian Holm), the successful Italian restaurateur across the street. However, their restaurant is running out of money since a taste for authentic Italian food has not yet developed in most people in New York at this time and Primo refuses to ‘Americanize’ his dishes. He is in fact infuriated when a guest asks for a side of spaghetti and meatballs to go with her risotto. The brothers’ pride in their cuisine and culinary expertise is obvious when Primo is caught muttering "the rape of cuisine" in his kitchen.
At the same time, Primo is optimistic about the restaurant and is unaware of their financial situation. One of his frequent customers pays him with a painting every time he eats there and Primo is happy with it. He believes that in time, things will work out for them. He sarcastically responds to Secondo’s suggestion of taking risotto off the menu with his own suggestion of adding hot dog instead. Afterwards, he says “If you give people time, they learn.” He believes they will.
Shortly after, Secondo in his desperation seeks help from Pascal. Pascal’s belief is different from that of the brothers. He says, “Give to people what they want. Then later you can give them what you want.” Primo hates him for the way he has stolen from Italian cuisine and made a successful business out of it. One of the remarks Primo makes in this regard is "the man should be in prison for the food he serves."
While talking to Secondo, Pascal says he may not be able to help financially but can help by having his good friend Louis Prima, a famous Italian-American bandleader, visit their restaurant for a grand banquet. Louis Prima’s visit would bring with it the press and eventually, great promotion for The Paradise. This idea excites Secondo, and when he puts forth the same to Primo, his response is “people should come just for the food.” Eventually, Primo agrees and both brothers put their best recipes together for the grand meal.
The movie takes off from here, with the brothers hand-picking their ingredients and inviting everyone they come across - from the greengrocer to the Cadillac Salesman for the big night. Preparations for the event look simple because their main focus is the food for the big night which dominates the second half of the movie. The tables are laid and all expected guests along with reporters, photographers and music pour in. The ‘Ay Mambo’ number is thrown in and as much as you enjoy the energy on screen, it is only the starting of much more, leading to a much awaited banquet by all guests, sans Louis Prima.
This is probably one of those scenes that can make you hungry, for the menu is not just exotic, but as is visible by the guests’ content expressions, heavenly! It gets even more real when you see the content on the brothers’ face after they serve soup. There is a subtle hint of pride, the kind that is so much a part of their character that you could easily have overlooked it. The risotto and timballo leave the guests with an orgasmic appetite they cannot satisfy enough. At one point, Pascal seems to have lost it, fiercely exclaiming “ God--mn it, I should kill you...” he walks to Primo and in a choking voice repeats “this is so ---- good, I should kill you.” The after effects of this enormous meal are almost comic, with most guests looking tired and weak, and one of them crying, complaining ‘’my mother was such a terrible cook.” Only the best artists in the world can make you weep. This scene says it all!
However, towards the end, this cheery atmosphere subsides as Pascal’s real intentions become obvious. Secondo confronts him, saying ‘You are nothing.’ This statement at a time when Secondo seems to have lost all that he had, is not just bold, but also highlights his faith in his skills and his unwillingness to give up.
Written by Joseph Tropiano and Stanley Tucci, and co-directed by Tucci and Campbell Scott, Big Night is a movie that speaks loudly about integrity in art - wearing this mask of exotic food and its business, for otherwise, it would be difficult for the world to recognise and appreciate these fading qualities. Shalhoub and Tucci are excellent actors displaying powerful tools of expression, attitude and understated confidence in the movie. They do justice to this idea of art, integrity and independence. A movie worth the 90 minutes it demands, Big Night is a must watch!
Big Night is a movie that makes its audiences think so many things and at the same time, leaves them at a loss for words to express those thoughts. It is not a movie about food as we all believe it to be. It’s not a movie about immigrants trying to make a living. It certainly is not about two guys trying to revive a restaurant that is close to bankruptcy. Instead, Big Night is a movie about two brothers, their culinary pride, and affection for each other. About their sincerity, principles, and then in some places, their flaws... It’s about the conflict between the ‘right way’ and the ‘profitable way;’ the choice of either maintaining ‘authenticity’ or counterfeiting recipes in order to suit local tastes. It’s almost about taking a stand for who you are … and losing.
The movie is set in New York in the 1950’s, with its protagonists Primo (Tony Shalhoub) and his younger brother, named Secondo (Stanley Tucci) running an authentic Italian restaurant called ‘The Paradise.’ Primo is an excellent Chef, a fact well known by him, Secondo and even by Pascal (Ian Holm), the successful Italian restaurateur across the street. However, their restaurant is running out of money since a taste for authentic Italian food has not yet developed in most people in New York at this time and Primo refuses to ‘Americanize’ his dishes. He is in fact infuriated when a guest asks for a side of spaghetti and meatballs to go with her risotto. The brothers’ pride in their cuisine and culinary expertise is obvious when Primo is caught muttering "the rape of cuisine" in his kitchen.
At the same time, Primo is optimistic about the restaurant and is unaware of their financial situation. One of his frequent customers pays him with a painting every time he eats there and Primo is happy with it. He believes that in time, things will work out for them. He sarcastically responds to Secondo’s suggestion of taking risotto off the menu with his own suggestion of adding hot dog instead. Afterwards, he says “If you give people time, they learn.” He believes they will.
Shortly after, Secondo in his desperation seeks help from Pascal. Pascal’s belief is different from that of the brothers. He says, “Give to people what they want. Then later you can give them what you want.” Primo hates him for the way he has stolen from Italian cuisine and made a successful business out of it. One of the remarks Primo makes in this regard is "the man should be in prison for the food he serves."
While talking to Secondo, Pascal says he may not be able to help financially but can help by having his good friend Louis Prima, a famous Italian-American bandleader, visit their restaurant for a grand banquet. Louis Prima’s visit would bring with it the press and eventually, great promotion for The Paradise. This idea excites Secondo, and when he puts forth the same to Primo, his response is “people should come just for the food.” Eventually, Primo agrees and both brothers put their best recipes together for the grand meal.
The movie takes off from here, with the brothers hand-picking their ingredients and inviting everyone they come across - from the greengrocer to the Cadillac Salesman for the big night. Preparations for the event look simple because their main focus is the food for the big night which dominates the second half of the movie. The tables are laid and all expected guests along with reporters, photographers and music pour in. The ‘Ay Mambo’ number is thrown in and as much as you enjoy the energy on screen, it is only the starting of much more, leading to a much awaited banquet by all guests, sans Louis Prima.
This is probably one of those scenes that can make you hungry, for the menu is not just exotic, but as is visible by the guests’ content expressions, heavenly! It gets even more real when you see the content on the brothers’ face after they serve soup. There is a subtle hint of pride, the kind that is so much a part of their character that you could easily have overlooked it. The risotto and timballo leave the guests with an orgasmic appetite they cannot satisfy enough. At one point, Pascal seems to have lost it, fiercely exclaiming “ God--mn it, I should kill you...” he walks to Primo and in a choking voice repeats “this is so ---- good, I should kill you.” The after effects of this enormous meal are almost comic, with most guests looking tired and weak, and one of them crying, complaining ‘’my mother was such a terrible cook.” Only the best artists in the world can make you weep. This scene says it all!
However, towards the end, this cheery atmosphere subsides as Pascal’s real intentions become obvious. Secondo confronts him, saying ‘You are nothing.’ This statement at a time when Secondo seems to have lost all that he had, is not just bold, but also highlights his faith in his skills and his unwillingness to give up.
Written by Joseph Tropiano and Stanley Tucci, and co-directed by Tucci and Campbell Scott, Big Night is a movie that speaks loudly about integrity in art - wearing this mask of exotic food and its business, for otherwise, it would be difficult for the world to recognise and appreciate these fading qualities. Shalhoub and Tucci are excellent actors displaying powerful tools of expression, attitude and understated confidence in the movie. They do justice to this idea of art, integrity and independence. A movie worth the 90 minutes it demands, Big Night is a must watch!
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