The Big Night (1996)
A film review by John Schuurman
Copyright 1996 John Schuurman
Co-Directors: CAMPBELL SCOTT and STANLEY TUCCI Screenplay by: JOSEPH TROPIANO, STANLEY TUCCI
At the end of this fine food film, after all the Italian passion -- the shouting, the kissing, the fighting, the yearning -- is over, and defeat is certain for all has been spent, there is still the cooking of an omelet.
Secundo, the brother whom we think has lost the most, (he possesses none of the genius of the food artist Primo), cooks an omelet as an act of service for his helper and his brother. This simple three egg omelet is perhaps the last bit of food that will be given life in this restaurant called "Paradise."
We watch as this omelet is made. We watch the whole thing, without aid of time lapse photography, words, or music -- only the clicks of spatula and fork and our melancholia to help us. We watch the omelet from the idea of it, to the gathering of material for it, through the cooking, the serving, and at last the eating of it. And when at the final bite, a hesitant arm is extended over the great divide -- Secundo to Primo, business man to artist, pragmatist to idealist -- we know we have seen something god-like. It is an act full of love and forgiveness and promise.
It is quite a divide that must be bridged because this is a culture clash film. It is Old World vs. New World; principle vs. utility; fine cuisine vs. beer and pizza; the holiness of genius vs. base and filthy lucre.
Secundo, who cooks the omelet and extends the arm, is not the cook. He is the business man. He and his brother Primo are immigrants from Italy who have come to make their fortune in America. Secundo would like to compromise in matters of taste for the sake of the business. Primo cannot -- will not -- do it. "If you sacrifice, then the work dies."
If you know an artist (in the radical sense of that word) for whom to compromise artistic standards in any way means pandering to the philistine taste of base people or else prostituting the artistic soul for mere money or worldly success, you will be reminded of him or her in this film.
In art the question is always, "Who is art for?" Is art for the sake of ART or perhaps for the "gods?" Is the work the thing? Is the artist's authenticity and integrity ultimate? Must the artist be true only to himself and the rest be damned? Or is business the god who must be served? You have heard the arguments before. "You have to give people what they want or you won't be able to give them any thing at all." In this movie the line is, "I am a business man. I am what I need to be at the time."
So which wins in this movie? Neither. After a final "Big Night," and an omelet the morning after, Paradise must close. Business has lost -- art too.
But as we leave we are hopeful if somewhat melancholy. Hope arises as Secundo cooks and then places his hesitant hand on Primo's shoulder. These acts are a bridge across the divide. They suggest a third and better way: not art for ART, nor art for money; not the artist as rare self-indulgent eccentric, nor as pitiable prostitute who has sold his genius for a mess of the world's tripe.. Rather art as service, art as love, art as, "let me make something beautiful for you."
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This movie has an "R" rating because of rough language and a suggested adulterous sexual situation.
For more reviews by John Schuurman see: http://www.mcs.com/~wcrc/movies.html
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