BBD Comments:
‘Big Night’ is a meticulous film. It announces itself as such from the very beginning as we see Stanley Tucci’s careful and considered preparation of the restaurant’s every detail before finally turning the sign from closed to open. There is such care in his craft, and that care seems reflected in every frame of this wonderful film.
From the intricate sets (most notably the beautiful and fully functioning kitchen,) to the exquisite performances, this film asks you to investigate the details and see what great pride there is to be found in a job well done.
This is a film made by actors for actors. The struggle between artistic integrity and mainstream success is at the core of most artist’s careers, and Stanley Tucci and Campbell Scott have structured their film to talk about these issues while remaining accessible to a wide audience. These men are purists of performance, and ‘Big Night’ is replete with long still scenes that allow the film’s rhythm to be dictated by the performers rather than the editors. There is no finer example of this device than in the lyrical scene that ends the story. The breakfast for three Secondo prepares speaks volumes about perseverance, brotherhood, and the elevating transformative beauty of craft. One long shot follows the whole breakfast’s creation, and the fact that there are eggs waiting for Primo when he finally enters the kitchen is beautiful in both its meaning and its simplicity.
As a film about craft, it is as it needs to be, populated by supreme craftsmen. Tucci is wonderful as the younger brother charged with protecting his elder’s gift. Sir Ian Holm is equally compelling (despite his imperfect dialect) as the devilish embodiment of compromise. Minnie Driver, Isabella Rosellini and Allison Janney deliver fine performances, but in the end the women are so secondary to the story that they fail to excite. The true master at work in this film is appropriately Tony Shalhoub. His perfectly crafted performance manages to never miss a note, and we believe in his ability as chef largely because of his staggering ability as a performer. He is every bit the actor that Primo is a chef.
But the film does have its problems. Campbell Scott’s work is excellent as the Cadillac Dealer, but it doesn’t really add to the theme or the plot, and it seems as though it is there for no other reason than to give him a role.
In the end though, the climactic meal is magnificent, and the film ends with so many interesting questions it lingers like a good meal should.
Nubs has once again brought a selection that speaks to Movienight the institution. ‘Big Night’ reminds us that all enterprises have their conflicts, but among family no conflict should ever be too large to keep us from breaking bread together.
Salut.
Coolbaugh Comments:
I remember seeing this movie several years ago, and it didn't grab me. Seeing it again made me wonder why I wouldn't like this film. I was embarrassed at the thought of what it used to take to entertain or enlighten me. If I didn't like this film, what did I like? Oh yeah, Steven Segal films.
Anyway, I was excited to come back from the Philippines and dive right back into a Nubs selection. Nubs has earned my respect as the most reliable SELECTOR in the group. Granted, half of it is pure luck, but that's neither here nor there. His selections are great, and I was looking forward to this big night.
Naturally, our film was just that – ‘Big Night.’
‘Big Night’ is a pretty simple film, really...and universally applicable. Everybody gets their values and goals challenged in life. So, what will you do when you and your values get put to the test? In a documentary on SRV that I got in the Philippines, they emphasized how Stevie turned down global touring, limos, ladies, and the chance to play along side one of rock's greatest legends ever, David Bowie, in order to play the music that wouldn't compromise his integrity as he believed playing with Bowie would have done. This meant returning to Texas to tour around the state in a broken down milk truck playing the music he loved (still without a record deal).
Stevie and Primo are obviously fruit from the same tree. I think the rest of us, whether we like it or not, will likely relate more to Secondo, who manages to work practicality (e.g. sales, food cost, bank loans, etc.) into his daily decisions. It's simply the world we live in. After all, where would Primo have been for the last two years without his brother?
Probably not in this film.
The point is, there is a balance, as with everything. Living your dream vs. paying for it. That's why the movie is so universally applicable. Everybody can relate to this challenge. And if you find this balance, and stay true to your values, then the outcome is almost irrelevant. You can't go wrong.
Great selection Nubs. It was just what I needed coming back into the fire.
See you next week. Until then...
Onward.
SELECTOR Comments:
‘Big Night’ has become one of my favorite movies of all time. It is one of those movies that I truly enjoy more and more with each viewing. Like a good meal there is a lot to chew on, flavorful metaphors to digest, and it leaves you completely satiated.
Forget that this movie is the best FOOD movie of all time. Forget that, as a waiter, this movie speaks to me personally. As an artist, a food and spirits lover, a worker, an American, a dreamer, this movie speaks to everyone.
QUICK DISCLAIMER:
Now let me say, after hanging out with Chris Pratt and Emily, Darius and Caroline, and David Robinson, I realized that there are people who read these reviews who didn’t watch the movie with us. Yes, our dorky wishes /nightmares have come true; we are not alone. Just want to address that I know when I talk about tonight’s movie there are some web fans that don’t know how it ends. I’ll try to be conscientious.
Then again, screw it. See the movie and come back and read this.
Back to my review. Like wine and food, and, well, everything, I am a connoisseur of this movie. The first time I saw ‘Big Night’ I remember enjoying it on it’s basest level. With the second viewing the metaphors opened up to me like a properly decanted wine. I realized food was just a tangible metaphor for Art. The characters all serve to illustrate that art can be commercialized and massively consumed, or art can be passionate, intellectual, and worthy of praise, but mostly unknown.
Of course, I was in art school when I came to this typical, brilliant art school realization. With more viewings one realizes, it is not only art, it is also work, it is compromise, family, duty to your fellow man versus honor to one’s self. This is all in the opening scene when Primo demands, “make it, make it, make it, make the pasta!” Like a good meal or a good painting, or a good song, or a good movie, it’s got a lot for one to analyze and contemplate.
It is my most recent viewing as the SELECTOR that has been my most enjoyable yet. As the SELECTOR you are like the artist or the chef putting your tastes and passions on the wall for your peers to enjoy or hate. Though I felt my choice was solid, I was nervous, and losing confidence as my big night proceeded. I didn’t recall how slow the first twenty minutes of ‘Big Night’ was. I was starting to envision the other members throw me out of their club as we painstakingly sit through the car scene with Minnie Driver and I can’t remember when I heard a laugh or why I chose this movie. Finally, we get to Pascal’s restaurant where, according to Primo, “Rape, Rape! Rape to the cuisine” happens nightly.
In the following scene in Pascal’s office, I understood how deeply layered this fine tempino of a film is. So, as I stated - I’m sweating, the movie’s boring, not so funny, and I don’t know where I should be taking my first bite in this story. As Pascal starts to explain the theme of the film there is a desk lamp in the shot distorting his face. It doesn’t go away, it’s hilarious each time the man with the lamp for a mouth tries to say something eloquent. It’s as classic slapstick as the Vaudevillian spotlight gag. The simplicity of the joke allows me to laugh, relax, and appreciate the rest of the movie. This is just as Pascal notes the entire theme of the movie, Give people what they want, then later you can give them what you want. Oh, it’s so good I should kill them.
They teach us how to enjoy the movie, and guide us towards one of the most breakthrough endings in cinema history. See, the slow, subtle, understated pace of the first part of this movie is hard for our underdeveloped palate. We need the little jokes and spectacle of the meal, the Cadillac drive, the dances, all before we are willing to sit through such a beautiful, simplistic ending. In a way, this whole movie is all how we get to being riveted by the real time, silent sequence, of a man frying an egg and eating it. Or, is it a man feeding his family, or is the healing power of food, or the necessity of art and brotherhood, or...? It is many things to many people. For me, with this viewing, it was about the storyteller being able to entice us to stick around for an abstract, minimalist breakfast with meaning. It is genius.
Now, that said, there is one, not so little, flaw like the love story. We don’t know who Minnie Driver’s character is, what she means to Secondo, why we should care or not care, and therefore, why is she swimming in the ocean in the end other than as an obvious catalyst to get us out on the beach while showing a little skin. OK, so one flaw, but who cares? Minnie Driver will have a fine career despite the fact that some (Coolbaugh) might describe her as a Very pretty, ugly girl.
So ends the longest review or dissertation in Movienight history [Editor’s Note: This is far from the longest review or dissertation in Movienight history. I am fairly certain that honor belongs to Coolbaugh for his review/polemic on Network/JaJa.]. I apologize for my boisterous allegiance to this film, but you asked for it, Davis.
Go Mavs!
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