BIG NIGHT: Blu-ray (Rysher Entertainment, 1996) Paramount Home Video

Watching Big Night (1996), the sublime dramedy co-directed by Campbell Scott and co-star, Stanley Tucci, is like indulging in a decadent smorgasbord where the main course served up is a satisfying slice of life, infinitely more nourishing than any souffle or side order of risotto (however deftly prepared) ever could be. Tucci, who also authored this movie with co-star, Tony Shalhoub and his cousin, most recently in the news for his cancer scare (he had a malignant oral tumor removed) has been kicking around the picture biz for a very long time. We will set aside his brief ‘failed’ stint as a ‘model’ for Levi 501 jeans, to concentrate on Tucci’s film debut in director, John Huston's Prizzi's Honor (1985) – another Italio-centric celebration of wine, women and sin. If only for the impressive list of credentials he has racked up since, by now Stanley Tucci ought to be considered one of Hollywood’s elites. Alas, and even more bizarrely – no. For although the concentration on his craft is irrefutable, as Tucci can strike an indelible chord in even the smallest part, Tinsel Town is contented to keep his reputation hermetically sealed as a rock-solid second string, in service of other ‘bigger’ stars. Big Night ought to have been Tucci’s epic launch into super stardom. Indeed, the picture – popular in its day, though hardly a sleeper, and, even more grotesquely, expunged from the public consciousness since – is a fabulous salmagundi to showcase the girth of Tucci’s subtle charm, gentle grace and actor’s finesse.

The same, can arguably be said of Tucci’s costar, Tony Shalhoub who, born Lebanese, has made something of a cottage industry affecting an Italian accent, and is perhaps, best recalled today for his television work on two long-running series: Wings (1991-97) and Monk (2002-09). Tucci and Shalhoub have magnificent on-screen chemistry in Big Night. We believe them implicitly as brothers, Primo (Shalhoub) and Secondo (Tucci), feudin’/fussin’ restauranteurs who gamble everything on a single night’s extravagant banquet, dedicated to a guest of honor (band leader/entertainer, Louis Prima) who never shows up. In retrospect, the remainder of the hand-picked, destined to make the brothers’ guest list, reads like a who’s who of aspiring names and faces that only briefly made their mark in the cinema firmament. Minnie Driver is Phyllis, Secondo’s long-suffering gal/pal, hoping for marriage, even as she comes to realize her lover has taken another, Gabriella (Isabella Rossellini) to his bed. Ian Holm is Pascal – a wily rival, who plays the cruelest of tricks, promising Prima’s cache will put their restaurant on the map, though never to actually invite him to dine.  And then, there is the wonderful Allison Janney as Primo’s potential paramour - florist, Ann Travis. Blink and you’ll miss up and comer, Liev Schreiber as another party guest – Leo, Marc Anthony (more renowned for his singing career, though quite excellent as the curiously forlorn busboy, Cristiano), Law & Order’s Susan Floyd as Joan, and, director, Campell Scott, a.k.a. slick Cadillac salesman, Bob.

Tucci, whose inspiration here was director, Jean Renoir, and, Tucci’s cousin, Joseph Tropiano have written a deft and award-winning screenplay, populated by characters we want to know so much more about, but are never quite given the opportunity to fully appreciate. Perhaps the most refreshing aspect here is how liberated the picture is of Italian-American stereotypes. What is here certainly does more than whet the palette with intriguing moments of introspection, in the end, devoted to the passionate embrace of family above all else. Set in New Jersey, circa the early 1950’s, our initial introduction to the brothers illustrates the great divide between tradition and new world philosophies on life. Primo is a perfectionist of the old school, toiling to create masterpieces of Italian cuisine. Such devotion takes time but is so incredibly worth the effort. Secondo, alas, cannot see why the same results cannot be achieved cutting corners to streamline their fledgling enterprise into profitability. The brothers frequently clash over this fundamental difference between culinary art vs. crass commerce.

There are other differences to consider. Outside of the kitchen, Primo is introspective and shy, a great philosopher of life – and food - who admires florist, Ann Travis from afar. Comparatively, Secondo is ‘of the moment’, pursuing the flashier, Phyllis while also carrying on a notorious affair with the more worldly, Gabriella – the wife of his competitor. Secondo’s infatuation with the possibilities America might provide, given half the chance, good timing, and great ‘good luck’, carries this subtle storytelling over its threshold of lost opportunities and bittersweet regrets. The greatest of tragedies is not that Secondo’s reach has exceeded his grasp, but Pascal’s slick bastardization of these traditions, Primo holds dear succeeding when quality should out in its stead.  To keep their dream alive, Secondo first approaches the bank, on whose line of credit has already been over-extended. As the bank intends to foreclose if the latest payment on their investment cannot be recouped, Secondo desperately turns to Pascal for a loan.

Pascal placates Secondo – instead, suggesting the brothers close up shop and work for him, an offer, hateful to Secondo. Feigning compassion, Pascal tempts Secondo with an offer he cannot refuse. Pascal will get his ‘old friend’, bandleader/entertainer, Louis Prima, to attend a ‘last supper’ at the brothers’ Paradise restaurant; an opportunity to impress a famous name, thereby drumming up new business, surely to put Primo and Secondo’s tiny establishment on the map. Believing he has ‘saved’ the restaurant, Secondo dives headstrong into party preparations, stopping at Ann’s flower shop to order arrangements and invite her to the party. The guest list also includes Bob, a Cadillac salesman Secondo has only met earlier while perusing the car lot, only after making his usual pitstop for afternoon sex with Gabriella, but not before promising a slightly reticent Phyllis, his intentions to wed her – someday – are honorable. Bankrupting their savings on the ‘big night’, Secondo begins to get nervous when Louis Prima does not arrive on time. Pascal placates his host with renewed promises of Prima’s attendance. Meanwhile, Ann attends Primo in the kitchen. He feeds her with his fingers, a mere sampling of the operatic meal shortly to follow. He also promises to take her back to Italy, where she might more completely experience the glorious food he fondly recalls from his youth.

Alas, Primo’s opulent preparations are ready to go. And thus, dinner is served. The guests marvel at the assortment of culinary treasures, as they indulge in wine, women and song. The mood, while festive, is as fraught with hidden anxieties. Having had too much to drink, Phyllis throws up in a potted plant just outside the restaurant. She is attended by Gabriella, who is rather sympathetic, despite knowing she is her competition for Secondo’s heart. Finding her husband’s ruse unbearable, Gabriella explains the situation to the brothers. Louis Prima was never coming to dinner. Pascal never invited him. It was all just a sick joke to hasten the demise of the Paradise. Now, Phyllis finds Secondo in the bathroom, kissing Gabriella. She storms out of the restaurant to the nearby beach, strips out of her gown and takes a moonlit swim in her skivvies. Primo explains to Secondo, he plans to return to Italy, having received an invitation from their uncle in Rome to work at his restaurant. The brothers bitterly argue. Secondo retreats to the Paradise where he finds Pascal playing the piano. The wily restauranteur now dangles the same carrot – for Primo and Secondo to work for him. Secondo bitterly resists, and orders Pascal from the Paradise. But he is deeply wounded by the prospect of continuing – somehow – without his brother at his side. At morning’s first light, Secondo prepares breakfast in the kitchen for him and Cristiano, quietly anticipating Primo, who does arrive, ambiguously taking his place at his brother’s side.

Apart from the sounds of skillets and spatulas this penultimate sequence, running almost 6-minutes, plays without a stitch of dialogue. An utterly brave directorial decision on which to conclude the picture, it pays handsome dividends after all the garish, tune-and-laughter-filled opulence of the previous night’s festivities and their hard-candied fallout, now distilled into an even more invigorating pantomime. Big Night is a movie concocted from the graceful pseudoscience of a highly prized, secret family recipe. The intangible joys unearthed throughout its deeply felt storytelling, and, irrefutably, in observance of this great cast inflecting far more than is written on the page, are as counterbalanced by the ingrained philosophy - great things really do take time. Not everything that is profitable is, in fact, nurturing to the human soul. In this alone, Big Night is as masterful as the astonishing cookery on display for its celebration of life. As Shalhoub’s Primo emphatically declares, moments before he unfurls his creations for the unsuspecting patrons, “Can you believe it?!?” Yes, we most sincerely can. Buon appetito, then, and tutti a tavola a mangiare!

After far too long an absence on home video, Big Night arrives on Blu-ray via Paramount in a fairly impressive transfer. The picture was originally made for and distributed by Rysher Entertainment – now, a Paramount subsidiary. The 1080p transfer is good, if not exactly perfect. There is some light speckling in a few scenes, and an occasional hint of DNR. Nothing egregious, however. Colors are robust. Density and saturation are in check. Flesh tones skew a tad too orange. Contrast is anemic. Blacks never reach that deep and satisfying inkiness. There’s the subtlest hint of macro-blocking during the beach sequence. Again, subtle - but there. Overall, not a bad effort. Just not an exemplary one…and that is a shame. There are two audio options, DTS 5.1 and original theatrical 2.0 DTS. Either is acceptable. This is a dialogue-driven movie with very few opportunities for an expansive stereo mix to shine. Regrettably, Paramount offers us nothing in the way of extras – not even the original theatrical trailer. Bottom line: Big Night is a big entertainment wrapped in the convenient econo-size run time of barely 2-hours. For this, however, you get a full course meal of drama and comedy. The Blu-ray is acceptable, if not reference quality. Judge and buy accordingly.

FILM RATING (out of 5 – 5 being the best)

5

VIDEO/AUDIO

3.5

EXTRAS

0