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Actor Stanley Tucci cowrote, codirected, and stars (along with Tony Shaloub) in this touching and funny parable about two brothers, Italian immigrants, who run an unsuccessful restaurant on the Jersey shore in the 1950s. Convinced by a thriving rival (Ian Holm) that jazz great Louis Prima will be stopping by their eatery for a late dinner after a show, the brothers pull out all stops and spend their last dollar organizing a banquet that ought to make culinary history. Expect to be very hungry after watching this delightful and touching film, but don't rush off to the kitchen until the full design of the characters and their relationships with lovers, suppliers, customers, and one another completes itself. With a memorable performance by Ian Holm and a quirky cameo by Tucci's codirector, Campbell Scott. --Tom Keogh ... Read more

Reviews (62)

People should-a come just-a for the food...
Primo (Tony Shaloub) is a traditionalist, a perfectionist, an artist; he is a chef without compromise. His younger brother, Secondo (Stanley Tucci), will compromise, bend, wheel and deal; he is a desperate businessman who cares about food, but is realistic. Unfortunately, their little restaurant is way, way ahead of its time. When their 1950s customers go out for Italian food, they want red-checked tablecloths and lotsa spaghetti and meatballs, not risotto and delicate wine. How can their restaurant stay in business? It can't, but they try to save it with an all-out feast for a famous Italian jazzman. If you're the least bit hungry when you watch this film, you've got trouble, because food has never looked this good. It's a quiet, slow movie, but you get to know Primo and Secondo completely, and you find yourself wishing their restaurant was in your neighborhood so you could go there and give them all your money.

What a delight - but eat before you watch it
Eat before you watch this movie; otherwise, you'll end up painfully hungry and go stuff yourself with every bit of Italian food you can lay your hands on.

This is a simple story of two brothers struggling to fulfill their dreams - one to be a "success" in America; the other to be a great Italian chef.

Realizing the dreams of the first brother hinges on the success of one important meal depends on the skill of the second - and forces outside their control.

Tucci, Shaloub, Holm and company all give wonderful performances. There's no showing off by the many successful actors who are in this movie - they all just do a great job.

The climax of the movie is the banquet scene, and it's going to make you hungry and want to get up and dance.

The final scene which lasts for several minutes with the only dialog being one line - "are you hungry" - wraps up the movie nicely, and shows what a good director and actors can do when both understand the power of subtlety.

This is one fun movie - lots of laughs, amazing food, and a great soundtrack.

Wonderful "Little Film" -- So-So DVD
Stanley Tucci, as actor, co-writer, and co-director (with Campbell Scott, who also plays a pitch-perfect small part as a car salesman), deserves a great deal of the credit for this small, intimate, delightful film. But the film resonates because it got so many of the little touches right, from the ensemble cast to the soundtrack to the editing to the cinematography. So there is a lot of credit to go around.

Tucci plays Secondo, the aptly named younger of two Italian brothers who have emigrated to New Jersey from the Old Country. Secondo is the entrepreneur, the guy who wants the big Cadillac. Primo (Tony Shahloub), the older brother, is the magician of a chef. Primo is so good, in fact, that his culinary masterpieces go over the heads of the good folks of New Jersey. When contemplating a wonderful seafood risotto, a diner complains that she can't see the seafood, and that her desired side of spaghetti doesn't come with meatballs (inspiring the wonderful line, "Sometimes spaghetti wants to be alone").

Primo bemoans the fact that he is serving food to Philistines, but the sad fact is that most of the Philistines are eating across the street at Pascal's restaurant. Pascal, played with great zest by Ian Holm, knows that you have to give the customer what he wants -- even if it is culinary sacrilege. The contrasts between the restaurants, from the colors to the lighting to the clientele, could not be more staggering!

Secondo laments to Pascal of his financial woes, but refuses Pascal's (repeated) offer to come work for him. Pascal, being a big-hearted guy, tells Secondo to pull of a "big night," with no holds barred. Pascal will invite his good friend, Louis Prima, who will come, eat, and love Secondo's restaurant. Then, the people will come.

So the story builds to the big night (a side plot regarding Secondo's tortured love life notwithstanding), which is where the movie really takes off.

Organizing the banquet scene into courses, "Big Night" revels in the wonders that can only be brought about by great cooking. The cast has a difficult task -- how do you emote rapture without going over the top? The ensemble cast, which includes Isabella Rosselini, Minnie Driver, and Allison Janney, nails this task just right. The cooking scenes are also hectic and impressive without going over the top, too.

Following the big night, many truths are revealed, perhaps because it is impossible to deceive after having such a wondrous experience. If this film doesn't move you, or inspire you to get thee hence to an Italian restaurant, you have no heart!

But again, the heart of the movie is its dedication to the small touches. From Primo using his cup to tamp down his espresso grounds to the making of a simple omelet, this movie gets it all just right.

The DVD does not have much to offer as far as extras go. What it does have is one heck of little film.

A bland meal
I've seen BIG NIGHT described as "one of the great food movies". Let me clarify something here. The adjective "great" modifies "food", but not "movies".

Primo (Tony Shalhoub) and Secondo (Stanley Tucci) are Italian immigrant brothers who've opened the Paradise restaurant in an unidentified surfside town on the Eastern seaboard sometime in the 1950s. The elder Primo is a superlative chef, and both he and Secondo know it. But, Primo cooks to his desires and not the customers'. So, two years into the venture, the brothers are almost broke, the bank is about to repossess, and Secondo, the one with the business sense, is driven to despairing distraction.

Down the street is the competing Italian restaurant owned by Pascal (Ian Holm). While he admires Primo's talent, Pascal gives his patrons what they want, so his eatery is enormously successful. To help the boys out, Pascal arranges to have his friend, the Italian-American singer Louis Prima, come to the Paradise with his band for dinner. Secondo spends virtually the last of their savings preparing for the BIG NIGHT with the expectation that the event and its attendant publicity will yank them back from the brink of insolvency. In the meantime, he avoids emotional commitment to his girlfriend Phyllis (Minnie Driver) while having an affair with Gabriella (Isabella Rossellini), Pascal's mistress. After all, what are pals for?

The best bits of this film are the too infrequent cooking sequences. But the best ends there. BIG NIGHT doesn't know whether to be a drama or comedy, and succeeds at neither. The dialogue is flat and uninspired throughout, and the plot goes nowhere of interest. My wife, perhaps a dollop more impressed than I was, called the film a "character study". But no persona in this otherwise dull movie is engaging, and, indeed, I found Pascal's ebullient crassness positively annoying. About the only other good thing I can say about BIG NIGHT is that it uses as props some well-preserved, large tail-finned, period Cadillacs that will perhaps stimulate vintage car buffs.

Better films to rent that revolve around food preparation are MOSTLY MARTHA (2001) and EAT DRINK MAN WOMAN (1994). These, at least, portray characters to care about.

The American cinema needs more BIG NIGHTS!
The film "Big Night" is not a small little picture that was over-hyped by critics. The only person who would be disappointed in this film would be some 15-year old kid that was looking for some kind of "2 Fast 2 Furious" crap. Over all the Amazon editorial staff does a fine job of presenting the plot or scope of a film, book, or CD. In the case of "Big Night" I am left to wonder if the reviewer watched the film or just read the back of the DVD case. Her opinions are fine but in the review itself she wrongly guides the reader as to both the plot and the outcome of the movie- Two things that should never be done. ... Read more

Reviews (39)

They don't make movies like this anymore!
"The Imposters" is a genuine treat. I haven't seen a movie made like this or made this funny in a long time. It is hilarious! People in the mood for a madcap farce with plenty of mishaps is sure to enjoy this one. The supporting characters are all so wonderful as different stereotypes, but the real treat is watching Stanley Tucci and Oliver Platt, who have perfect deadpan expressions. You can't go wrong with this one!

The best comedy of the 1990's!
The Imposters is a classic farce. The film is not only hilarious, but also packed with talented actors. (I haven't seen this many cameo's since The Muppet Movie.) Stanley Tucci and Oliver Platt play two umeployed actors in New York during the 1920's. They accidently become stow-aways on a classy ocean liner. Not only are they stow-aways, but a rival actor on the boat is out to destroy them. The comedy in this movie is not only brilliant, but extremely entertaining.

Wonderful Little Comedy
I haven't seen any of the Marx Brothers films that many reviewers have referred to, but I imagine they're fantastic. Stanley Tucci and Oliver Platt deliver a terrifically wacky yet clever performance about two starving actors who become stoweaways on an ocean liner. This movie performs like a comedy should...funny, light-hearted and cheerful. A great movie to watch if you want to laugh after a hard day. Plus, it's nice to see some of your favorite drama stars perform as more humorous characters.

Laurel & Hardy Meets Lubitsch, But It Somehow Doesn't Work
This comedy should have been great. Actually, it starts wonderfully, with Stanley Tucci and Oliver Platt playing unemployed actors during the Depression-era, and the opening credits show a brilliant Laurel and Hardy-like silent comedy. Then, the film traces their struggle to keep their heads above water, with assorted episodes of their life, one of which include a big surprise cameo of W.A. who plays a henpecked stage director. So far, everything is really great.

Then "The Impostors" gradually loses its power though it never fails to be charming. The pair go to see one of the most terrible stage of Hamlet (done by Alfred Molina), and after being mistaken for criminal for assaulting this ham, they accidentally find themselved on the ocean line leaving for Paris. On this ship, Tucci and Pratt meet many, many strange characters. I only cite the names of actors: Steve Buscemi (as suicidal 'Happy' Frank, who entertains us with crooning), Isabella Rossellini, Lili Taylor, Cambell Scott, Tony Shalhoub, Billy Connolly, Hope Davis and others.

The star/director Stanley Tucci is always amusing with manic turns, and so is Pratt, but the screwball comedy situaltion which directors like Ernst Lutbisch was good at needs quite a sophisticated and tightly-woven script. "The Impostors" doesn't have that, and as the film nears to the end, it becomes more like a farce, which itself is not bad, and I like that kind of comdey, but the lack of polished story is painfully obvious when we see Connolly plays a tennis pro (and Greek) whose character is based on now hackneyed gay jokes.

"The Impostors" is not a bad film. It shows intelligence of the director, and there are some brilliant moments. But it stops short before the lofty aim of ressurrecting the old-style comedy.

Long on premise, short on delivery
First off, something I liked: The production value of the film and the DVD transfer is very good. Sadly, this is the best I can say about the film.

The film itself? A good premise poorly executed. Firstly, the previously-mentioned overacting is wholsesale replacement for actual acting by all the characters. Any real acting in The Impostors is torpedoed by "performances" so over-the-top you're expecting John Lovitz' "Great Actor" character from SNL to stride onto the screen, waving his arms and yelling, "Stop it! Stop it!" The worst offenders are Steve Buscemi, Alfred Molina and Isabella Rosselini, whose performances are nothing but overacting to the extent the character is nothing but air. You watch the film with a sort of horrified fascination, unable to tear yoursaelf away from this train-wreck of talent by so many actors who should have known better. The overacting stuns you until it inevitably bores you.

What acting there is (spasms of it by Oliver Platt and more evenly by Lili Taylor) is acceptable, but still nothing to risk a dime for. To say the characters are written one-dimensionally leaves no room to describe their portrayal. Archie and Jughead get more character development than the two main characters in this film. Director Tucci completely failed to engage my attention with any of the characters. They were dull, monotonal, uninteresting and I didn't give a fig for them.

Stanley Tucci does a fine job of playing Stanley Tucci. Unfortunately, Stanley Tucci as himself is not a compelling actor. Oliver Platt, one of my favorite actors, does his best to powerboat his way through heavy seas of melodrama and actually succeeds in bits and pieces. Given this film, that says a lot.

What purports to be a tribute to screwball comedies of the 1930s-1940s turns heavy-handed, stupid; and--worst of all--boring. This movie is a dog, and a dead one. ... Read more

Reviews (10)

A story does not end when the writer finishes writing...
I watched "Joe Gould's Secret" without knowing that it was based on a true story, but was not surprised when that turned out to be the case because this 2000 film from actor/director Stanley Tucci rings true. Tucci plays Joe Mitchell, a columnist for "The New Yorker" magazine in the early 1940s who had a chance encounter with a Greenwich Village bohemian eccentric named Joe Gould (Ian Holm). His reporter's curiosity piqued, Mitchell asks around a bit and finds that Gould claims to be writing an epic Oral History of New York, an almost daily record of the conversations he has each day with the forgotten ordinary folks of the great metropolis (the Oral History has to be capitalized; that is clear from the way Gould and his friends talk about it). The notebooks containing this million-word history are secreted around the city with the various artist friends who provide Gould patronage by listening to him and making monetary contributions to the Joe Gould Fund. The rationale for their indulgence is articulated by the painter Alice Neel (Susan Sarandon) who tells Mitchell, "I have always felt that the city's s unconscious is trying to speak to you through Joe Gould."

Mitchell discovers that Gould is a walking contradiction, capable of both quick bursts of anger and madness as well as perceptive insights into the human condition. He proves his credentials at being a superb listener by doing a Henry Higgins and telling Mitchell he was born in North Carolina based on a single sentence. Mitchell writes two articles about Gould for "The New Yorker." The first, "Professor Sea Gull," makes Gould even more of a cult figure about the New York intelligentsia, and a publisher (Steve Martin) is interested in at least reading the Oral History. But Gould refuses to let excerpts be published, saying it is all or nothing, and declaring it will only be produced posthumously. Years later, after Gould died, Mitchell would write a second essay, from which this film gets its title. However the delicious irony of this film is that the secret that lies at its heart belongs as much to Mitchell as it does to Gould.

Holm has the flashy part as the brilliant madman, but it is Tucci's Mitchell that is the pivotal performance. "Joe Gould's Secret" is more about how Mitchell sees Gould than we do in watching the film. There is a scene early on when Mitchell tries to explain to his editor why he might want to rewrite an article that has already been accepted for publication. Mitchell gropes without success for the words to speak out loud and his editor can only laugh and point out that it is a good thing this Joe writes better than he talks. But the exchange is significant because it speaks to the depths of Joe's emotions and intellect. We see or hear little of what Mitchell writes; most of the voice over narration has him quoting the words of Joe Gould. So it is the looks on Tucci's face, the way he sets his body, the pace of his walk, that give us our only clues to the deep rivers of his heart, mind, and soul. "Joe Gould's Secret" is a film in a minor key, but it is a nice little gem all the same.

A little oral history never hurt...
Stanley Tucci has yet to direct anything that could have him labeled a sellout. His work is small in budget and action, big in character study. The true story of JOE GOULD is perfect for Tucci to continue his streak. JOE GOULD was a bohemian homeless genius that loudly created the most important piece of literature never to be published. Ian Holm (THE LORD OF THE RINGS) commands the screen as Joe and Tucci himself is rather touching as the magazine writer who acts as Gould's reluctant biographer. Much of his family life is rather charming which could be a story in itself. That might be because the film borrows from 2 sources, One where he reports on Joe Gould the author and the second where he reveals the truth about Joe. The film has a couple big cameos from Susan Sarandon to Steve Martin. The DVD has a nice video transfer.

What rough beast?
Watching this film, after having grown up with the Cummings version of Joe Gould (EE is mentioned peripherally, but does not appear in the film), I learned a great deal, and was profoundly moved by the interaction between the two characters and how it changed both their lives. I will not reveal the ending, except to say that it is something the film slowly builds up to, and it would not have the same impact without the rest of the film. Yes, as others have said, the pacing is a bit slow, but it really had to be that way - if you want to see a fast-paced film, try a search for Clint Eastwood. If you want to see a film about a successful and functional eccentric (albeit one with a tragic family), try Crumb. For a great tragedy about the lives of two writers and how they touched one another, this film will do nicely.

A literary genius.
This historical comedy-drama is based on the true story of Joe Gould, a bohemian eccentric who was a fixture in New York's Greenwich Village from his arrival in 1916 to his death in 1964. Gould, who claimed to be a graduate of Harvard, would cadge drinks and subsist on catsup as he regaled patrons of neighborhood saloons with stories, poems, opinions, and his imitation of a seagull. In a 1942 New Yorker profile by journalist Joseph Mitchell, Gould spoke of his life's work, a book entitled An Oral History of Our Times, which he claimed would be eleven times longer than the Bible, contain a variety of overheard conversations from throughout the years, and document the decline of 20th century culture. Mitchell kept tabs on Gould, and tried to introduce him to publishers who might put his work into print, but nothing ever came of it, and it wasn't until Gould's death that Mitchell discovered the surprising truth about his friend.

fascinating true life story
What is history? Is it nothing more than the accounts we read in books of the exploits of various kings, queens, generals, armies, nations etc. as they wage war or deliberate peace throughout the endless millennia? Or is it - as Tolstoy implied - the sum total of the day-to-day actions of ordinary human beings eking out an existence on this unique little planet we call Earth?

These are the questions posed by Stanley Tucci's "Joe Gould's Secret," an intriguing little film based on the true story of a well-known eccentric who lived amongst and associated with the New York literati of the 1940's. This tale is really about two "Joes" - Joe Mitchell, a highly successful writer at "The New Yorker," and Joe Gould, a strange but alluring figure who shuffles his way around town begging for handouts, yet who claims to be a writer currently involved in authoring a monumental "oral history" of the world around him. Intrigued by this true eccentric, Mitchell decides to feature Gould in one of his magazine pieces. Thus, the two Joes spend countless hours together as Mitchell examines, records and tries to understand the lifestyle and thoughts of this most unique and extraordinary of individuals.

The best part about "Joe Gould's Secret" is that it allows the title character to remain something of an enigma throughout. It doesn't try to "explain" him or rob him of the ambiguity that makes him so fascinating a figure. In many ways, Gould fits perfectly the image of the artist we have come to romanticize and even glorify in our minds over the years. He is often gruff, irrational and temperamental, prone to wide mood swings and occasional violent outbursts, yet he is also capable of making profound insights and he possesses an innate ability to afflict the "comfortable" living in their smug little materialistic worlds - a tendency that endears him to the, perhaps, equally smug Bohemians around him. That he has to "suffer" for his art - he is virtually homeless and relies on the pecuniary contributions of his "friends" to get him by - only elevates his standing both in his own eyes and the eyes of many others. Credit the complex screenplay by Howard A. Rodman for being able to see that Gould may himself be suffering from delusions of grandeur that the people who admire him and the work he is doing simply reinforce - perhaps because they like to have a "colorful" character hanging around or because it makes them feel good to be minimally and patronizingly kind to a fellow human being (you will note that only one of his concerned "friends" or patrons is willing to provide him with a place to live - so much easier to hand him a few dollars and send him on his way). Even Mitchell becomes highly conflicted in his feelings towards Gould. Though at first intrigued by his eccentric nature, Mitchell, once the article is published and Gould has served his purpose, begins to see the man as little more than a daily annoyance, a time-consuming irritant to be gotten rid of. As Gould slips ever further into the realm of societal castoff, "Joe Gould's Secret" begins to take on the air of a profoundly sad human tragedy.

Yet, in the end, it is what Joe Gould stands for - his insistence that we shine a light on the forgotten members of the working class and the down-on-their-luck societal "losers" - that ends up making the strongest mark on both Mitchell and us in the audience. Though we are often appalled by the lifestyle Gould lives, we can't help but acknowledge the truth of his core conviction. Real history CAN be found every bit as much in the words, faces and lives of those people lurking in dingy pubs and toiling away in sweaty factories as it can in the royal courts and on the bloody battlefields that somehow preoccupy so many of the world's historians.

Ian Holm gives a brilliant performance as Gould, managing to appear both larger and smaller than life as the situation warrants. Whether he is rhapsodizing poetically about the meaning of life or extending his palm out in a poignant gesture of humiliating beggary, Holm makes Gould a completely believable and thoroughly unique character. Tucci, as Mitchell, the passive observer, has the less flamboyant role, but he manages to convey the seemingly contradictory nature of a man who wants both to remain skeptical and to believe in the "truth" of Gould and what he stands for.

"Joe Gould's Secret" transports us to a fascinating time and place and gives us much food for thought once we get there. ... Read more

Reviews (62)

People should-a come just-a for the food...
Primo (Tony Shaloub) is a traditionalist, a perfectionist, an artist; he is a chef without compromise. His younger brother, Secondo (Stanley Tucci), will compromise, bend, wheel and deal; he is a desperate businessman who cares about food, but is realistic. Unfortunately, their little restaurant is way, way ahead of its time. When their 1950s customers go out for Italian food, they want red-checked tablecloths and lotsa spaghetti and meatballs, not risotto and delicate wine. How can their restaurant stay in business? It can't, but they try to save it with an all-out feast for a famous Italian jazzman. If you're the least bit hungry when you watch this film, you've got trouble, because food has never looked this good. It's a quiet, slow movie, but you get to know Primo and Secondo completely, and you find yourself wishing their restaurant was in your neighborhood so you could go there and give them all your money.

What a delight - but eat before you watch it
Eat before you watch this movie; otherwise, you'll end up painfully hungry and go stuff yourself with every bit of Italian food you can lay your hands on.

This is a simple story of two brothers struggling to fulfill their dreams - one to be a "success" in America; the other to be a great Italian chef.

Realizing the dreams of the first brother hinges on the success of one important meal depends on the skill of the second - and forces outside their control.

Tucci, Shaloub, Holm and company all give wonderful performances. There's no showing off by the many successful actors who are in this movie - they all just do a great job.

The climax of the movie is the banquet scene, and it's going to make you hungry and want to get up and dance.

The final scene which lasts for several minutes with the only dialog being one line - "are you hungry" - wraps up the movie nicely, and shows what a good director and actors can do when both understand the power of subtlety.

This is one fun movie - lots of laughs, amazing food, and a great soundtrack.

Wonderful "Little Film" -- So-So DVD
Stanley Tucci, as actor, co-writer, and co-director (with Campbell Scott, who also plays a pitch-perfect small part as a car salesman), deserves a great deal of the credit for this small, intimate, delightful film. But the film resonates because it got so many of the little touches right, from the ensemble cast to the soundtrack to the editing to the cinematography. So there is a lot of credit to go around.

Tucci plays Secondo, the aptly named younger of two Italian brothers who have emigrated to New Jersey from the Old Country. Secondo is the entrepreneur, the guy who wants the big Cadillac. Primo (Tony Shahloub), the older brother, is the magician of a chef. Primo is so good, in fact, that his culinary masterpieces go over the heads of the good folks of New Jersey. When contemplating a wonderful seafood risotto, a diner complains that she can't see the seafood, and that her desired side of spaghetti doesn't come with meatballs (inspiring the wonderful line, "Sometimes spaghetti wants to be alone").

Primo bemoans the fact that he is serving food to Philistines, but the sad fact is that most of the Philistines are eating across the street at Pascal's restaurant. Pascal, played with great zest by Ian Holm, knows that you have to give the customer what he wants -- even if it is culinary sacrilege. The contrasts between the restaurants, from the colors to the lighting to the clientele, could not be more staggering!

Secondo laments to Pascal of his financial woes, but refuses Pascal's (repeated) offer to come work for him. Pascal, being a big-hearted guy, tells Secondo to pull of a "big night," with no holds barred. Pascal will invite his good friend, Louis Prima, who will come, eat, and love Secondo's restaurant. Then, the people will come.

So the story builds to the big night (a side plot regarding Secondo's tortured love life notwithstanding), which is where the movie really takes off.

Organizing the banquet scene into courses, "Big Night" revels in the wonders that can only be brought about by great cooking. The cast has a difficult task -- how do you emote rapture without going over the top? The ensemble cast, which includes Isabella Rosselini, Minnie Driver, and Allison Janney, nails this task just right. The cooking scenes are also hectic and impressive without going over the top, too.

Following the big night, many truths are revealed, perhaps because it is impossible to deceive after having such a wondrous experience. If this film doesn't move you, or inspire you to get thee hence to an Italian restaurant, you have no heart!

But again, the heart of the movie is its dedication to the small touches. From Primo using his cup to tamp down his espresso grounds to the making of a simple omelet, this movie gets it all just right.

The DVD does not have much to offer as far as extras go. What it does have is one heck of little film.

A bland meal
I've seen BIG NIGHT described as "one of the great food movies". Let me clarify something here. The adjective "great" modifies "food", but not "movies".

Primo (Tony Shalhoub) and Secondo (Stanley Tucci) are Italian immigrant brothers who've opened the Paradise restaurant in an unidentified surfside town on the Eastern seaboard sometime in the 1950s. The elder Primo is a superlative chef, and both he and Secondo know it. But, Primo cooks to his desires and not the customers'. So, two years into the venture, the brothers are almost broke, the bank is about to repossess, and Secondo, the one with the business sense, is driven to despairing distraction.

Down the street is the competing Italian restaurant owned by Pascal (Ian Holm). While he admires Primo's talent, Pascal gives his patrons what they want, so his eatery is enormously successful. To help the boys out, Pascal arranges to have his friend, the Italian-American singer Louis Prima, come to the Paradise with his band for dinner. Secondo spends virtually the last of their savings preparing for the BIG NIGHT with the expectation that the event and its attendant publicity will yank them back from the brink of insolvency. In the meantime, he avoids emotional commitment to his girlfriend Phyllis (Minnie Driver) while having an affair with Gabriella (Isabella Rossellini), Pascal's mistress. After all, what are pals for?

The best bits of this film are the too infrequent cooking sequences. But the best ends there. BIG NIGHT doesn't know whether to be a drama or comedy, and succeeds at neither. The dialogue is flat and uninspired throughout, and the plot goes nowhere of interest. My wife, perhaps a dollop more impressed than I was, called the film a "character study". But no persona in this otherwise dull movie is engaging, and, indeed, I found Pascal's ebullient crassness positively annoying. About the only other good thing I can say about BIG NIGHT is that it uses as props some well-preserved, large tail-finned, period Cadillacs that will perhaps stimulate vintage car buffs.

Better films to rent that revolve around food preparation are MOSTLY MARTHA (2001) and EAT DRINK MAN WOMAN (1994). These, at least, portray characters to care about.

The American cinema needs more BIG NIGHTS!
The film "Big Night" is not a small little picture that was over-hyped by critics. The only person who would be disappointed in this film would be some 15-year old kid that was looking for some kind of "2 Fast 2 Furious" crap. Over all the Amazon editorial staff does a fine job of presenting the plot or scope of a film, book, or CD. In the case of "Big Night" I am left to wonder if the reviewer watched the film or just read the back of the DVD case. Her opinions are fine but in the review itself she wrongly guides the reader as to both the plot and the outcome of the movie- Two things that should never be done. ... Read more

Reviews (39)

They don't make movies like this anymore!
"The Imposters" is a genuine treat. I haven't seen a movie made like this or made this funny in a long time. It is hilarious! People in the mood for a madcap farce with plenty of mishaps is sure to enjoy this one. The supporting characters are all so wonderful as different stereotypes, but the real treat is watching Stanley Tucci and Oliver Platt, who have perfect deadpan expressions. You can't go wrong with this one!

The best comedy of the 1990's!
The Imposters is a classic farce. The film is not only hilarious, but also packed with talented actors. (I haven't seen this many cameo's since The Muppet Movie.) Stanley Tucci and Oliver Platt play two umeployed actors in New York during the 1920's. They accidently become stow-aways on a classy ocean liner. Not only are they stow-aways, but a rival actor on the boat is out to destroy them. The comedy in this movie is not only brilliant, but extremely entertaining.

Wonderful Little Comedy
I haven't seen any of the Marx Brothers films that many reviewers have referred to, but I imagine they're fantastic. Stanley Tucci and Oliver Platt deliver a terrifically wacky yet clever performance about two starving actors who become stoweaways on an ocean liner. This movie performs like a comedy should...funny, light-hearted and cheerful. A great movie to watch if you want to laugh after a hard day. Plus, it's nice to see some of your favorite drama stars perform as more humorous characters.

Laurel & Hardy Meets Lubitsch, But It Somehow Doesn't Work
This comedy should have been great. Actually, it starts wonderfully, with Stanley Tucci and Oliver Platt playing unemployed actors during the Depression-era, and the opening credits show a brilliant Laurel and Hardy-like silent comedy. Then, the film traces their struggle to keep their heads above water, with assorted episodes of their life, one of which include a big surprise cameo of W.A. who plays a henpecked stage director. So far, everything is really great.

Then "The Impostors" gradually loses its power though it never fails to be charming. The pair go to see one of the most terrible stage of Hamlet (done by Alfred Molina), and after being mistaken for criminal for assaulting this ham, they accidentally find themselved on the ocean line leaving for Paris. On this ship, Tucci and Pratt meet many, many strange characters. I only cite the names of actors: Steve Buscemi (as suicidal 'Happy' Frank, who entertains us with crooning), Isabella Rossellini, Lili Taylor, Cambell Scott, Tony Shalhoub, Billy Connolly, Hope Davis and others.

The star/director Stanley Tucci is always amusing with manic turns, and so is Pratt, but the screwball comedy situaltion which directors like Ernst Lutbisch was good at needs quite a sophisticated and tightly-woven script. "The Impostors" doesn't have that, and as the film nears to the end, it becomes more like a farce, which itself is not bad, and I like that kind of comdey, but the lack of polished story is painfully obvious when we see Connolly plays a tennis pro (and Greek) whose character is based on now hackneyed gay jokes.

"The Impostors" is not a bad film. It shows intelligence of the director, and there are some brilliant moments. But it stops short before the lofty aim of ressurrecting the old-style comedy.

Long on premise, short on delivery
First off, something I liked: The production value of the film and the DVD transfer is very good. Sadly, this is the best I can say about the film.

The film itself? A good premise poorly executed. Firstly, the previously-mentioned overacting is wholsesale replacement for actual acting by all the characters. Any real acting in The Impostors is torpedoed by "performances" so over-the-top you're expecting John Lovitz' "Great Actor" character from SNL to stride onto the screen, waving his arms and yelling, "Stop it! Stop it!" The worst offenders are Steve Buscemi, Alfred Molina and Isabella Rosselini, whose performances are nothing but overacting to the extent the character is nothing but air. You watch the film with a sort of horrified fascination, unable to tear yoursaelf away from this train-wreck of talent by so many actors who should have known better. The overacting stuns you until it inevitably bores you.

What acting there is (spasms of it by Oliver Platt and more evenly by Lili Taylor) is acceptable, but still nothing to risk a dime for. To say the characters are written one-dimensionally leaves no room to describe their portrayal. Archie and Jughead get more character development than the two main characters in this film. Director Tucci completely failed to engage my attention with any of the characters. They were dull, monotonal, uninteresting and I didn't give a fig for them.

Stanley Tucci does a fine job of playing Stanley Tucci. Unfortunately, Stanley Tucci as himself is not a compelling actor. Oliver Platt, one of my favorite actors, does his best to powerboat his way through heavy seas of melodrama and actually succeeds in bits and pieces. Given this film, that says a lot.

What purports to be a tribute to screwball comedies of the 1930s-1940s turns heavy-handed, stupid; and--worst of all--boring. This movie is a dog, and a dead one. ... Read more

Reviews (10)

A story does not end when the writer finishes writing...
I watched "Joe Gould's Secret" without knowing that it was based on a true story, but was not surprised when that turned out to be the case because this 2000 film from actor/director Stanley Tucci rings true. Tucci plays Joe Mitchell, a columnist for "The New Yorker" magazine in the early 1940s who had a chance encounter with a Greenwich Village bohemian eccentric named Joe Gould (Ian Holm). His reporter's curiosity piqued, Mitchell asks around a bit and finds that Gould claims to be writing an epic Oral History of New York, an almost daily record of the conversations he has each day with the forgotten ordinary folks of the great metropolis (the Oral History has to be capitalized; that is clear from the way Gould and his friends talk about it). The notebooks containing this million-word history are secreted around the city with the various artist friends who provide Gould patronage by listening to him and making monetary contributions to the Joe Gould Fund. The rationale for their indulgence is articulated by the painter Alice Neel (Susan Sarandon) who tells Mitchell, "I have always felt that the city's s unconscious is trying to speak to you through Joe Gould."

Mitchell discovers that Gould is a walking contradiction, capable of both quick bursts of anger and madness as well as perceptive insights into the human condition. He proves his credentials at being a superb listener by doing a Henry Higgins and telling Mitchell he was born in North Carolina based on a single sentence. Mitchell writes two articles about Gould for "The New Yorker." The first, "Professor Sea Gull," makes Gould even more of a cult figure about the New York intelligentsia, and a publisher (Steve Martin) is interested in at least reading the Oral History. But Gould refuses to let excerpts be published, saying it is all or nothing, and declaring it will only be produced posthumously. Years later, after Gould died, Mitchell would write a second essay, from which this film gets its title. However the delicious irony of this film is that the secret that lies at its heart belongs as much to Mitchell as it does to Gould.

Holm has the flashy part as the brilliant madman, but it is Tucci's Mitchell that is the pivotal performance. "Joe Gould's Secret" is more about how Mitchell sees Gould than we do in watching the film. There is a scene early on when Mitchell tries to explain to his editor why he might want to rewrite an article that has already been accepted for publication. Mitchell gropes without success for the words to speak out loud and his editor can only laugh and point out that it is a good thing this Joe writes better than he talks. But the exchange is significant because it speaks to the depths of Joe's emotions and intellect. We see or hear little of what Mitchell writes; most of the voice over narration has him quoting the words of Joe Gould. So it is the looks on Tucci's face, the way he sets his body, the pace of his walk, that give us our only clues to the deep rivers of his heart, mind, and soul. "Joe Gould's Secret" is a film in a minor key, but it is a nice little gem all the same.

A little oral history never hurt...
Stanley Tucci has yet to direct anything that could have him labeled a sellout. His work is small in budget and action, big in character study. The true story of JOE GOULD is perfect for Tucci to continue his streak. JOE GOULD was a bohemian homeless genius that loudly created the most important piece of literature never to be published. Ian Holm (THE LORD OF THE RINGS) commands the screen as Joe and Tucci himself is rather touching as the magazine writer who acts as Gould's reluctant biographer. Much of his family life is rather charming which could be a story in itself. That might be because the film borrows from 2 sources, One where he reports on Joe Gould the author and the second where he reveals the truth about Joe. The film has a couple big cameos from Susan Sarandon to Steve Martin. The DVD has a nice video transfer.

What rough beast?
Watching this film, after having grown up with the Cummings version of Joe Gould (EE is mentioned peripherally, but does not appear in the film), I learned a great deal, and was profoundly moved by the interaction between the two characters and how it changed both their lives. I will not reveal the ending, except to say that it is something the film slowly builds up to, and it would not have the same impact without the rest of the film. Yes, as others have said, the pacing is a bit slow, but it really had to be that way - if you want to see a fast-paced film, try a search for Clint Eastwood. If you want to see a film about a successful and functional eccentric (albeit one with a tragic family), try Crumb. For a great tragedy about the lives of two writers and how they touched one another, this film will do nicely.

A literary genius.
This historical comedy-drama is based on the true story of Joe Gould, a bohemian eccentric who was a fixture in New York's Greenwich Village from his arrival in 1916 to his death in 1964. Gould, who claimed to be a graduate of Harvard, would cadge drinks and subsist on catsup as he regaled patrons of neighborhood saloons with stories, poems, opinions, and his imitation of a seagull. In a 1942 New Yorker profile by journalist Joseph Mitchell, Gould spoke of his life's work, a book entitled An Oral History of Our Times, which he claimed would be eleven times longer than the Bible, contain a variety of overheard conversations from throughout the years, and document the decline of 20th century culture. Mitchell kept tabs on Gould, and tried to introduce him to publishers who might put his work into print, but nothing ever came of it, and it wasn't until Gould's death that Mitchell discovered the surprising truth about his friend.

fascinating true life story
What is history? Is it nothing more than the accounts we read in books of the exploits of various kings, queens, generals, armies, nations etc. as they wage war or deliberate peace throughout the endless millennia? Or is it - as Tolstoy implied - the sum total of the day-to-day actions of ordinary human beings eking out an existence on this unique little planet we call Earth?

These are the questions posed by Stanley Tucci's "Joe Gould's Secret," an intriguing little film based on the true story of a well-known eccentric who lived amongst and associated with the New York literati of the 1940's. This tale is really about two "Joes" - Joe Mitchell, a highly successful writer at "The New Yorker," and Joe Gould, a strange but alluring figure who shuffles his way around town begging for handouts, yet who claims to be a writer currently involved in authoring a monumental "oral history" of the world around him. Intrigued by this true eccentric, Mitchell decides to feature Gould in one of his magazine pieces. Thus, the two Joes spend countless hours together as Mitchell examines, records and tries to understand the lifestyle and thoughts of this most unique and extraordinary of individuals.

The best part about "Joe Gould's Secret" is that it allows the title character to remain something of an enigma throughout. It doesn't try to "explain" him or rob him of the ambiguity that makes him so fascinating a figure. In many ways, Gould fits perfectly the image of the artist we have come to romanticize and even glorify in our minds over the years. He is often gruff, irrational and temperamental, prone to wide mood swings and occasional violent outbursts, yet he is also capable of making profound insights and he possesses an innate ability to afflict the "comfortable" living in their smug little materialistic worlds - a tendency that endears him to the, perhaps, equally smug Bohemians around him. That he has to "suffer" for his art - he is virtually homeless and relies on the pecuniary contributions of his "friends" to get him by - only elevates his standing both in his own eyes and the eyes of many others. Credit the complex screenplay by Howard A. Rodman for being able to see that Gould may himself be suffering from delusions of grandeur that the people who admire him and the work he is doing simply reinforce - perhaps because they like to have a "colorful" character hanging around or because it makes them feel good to be minimally and patronizingly kind to a fellow human being (you will note that only one of his concerned "friends" or patrons is willing to provide him with a place to live - so much easier to hand him a few dollars and send him on his way). Even Mitchell becomes highly conflicted in his feelings towards Gould. Though at first intrigued by his eccentric nature, Mitchell, once the article is published and Gould has served his purpose, begins to see the man as little more than a daily annoyance, a time-consuming irritant to be gotten rid of. As Gould slips ever further into the realm of societal castoff, "Joe Gould's Secret" begins to take on the air of a profoundly sad human tragedy.

Yet, in the end, it is what Joe Gould stands for - his insistence that we shine a light on the forgotten members of the working class and the down-on-their-luck societal "losers" - that ends up making the strongest mark on both Mitchell and us in the audience. Though we are often appalled by the lifestyle Gould lives, we can't help but acknowledge the truth of his core conviction. Real history CAN be found every bit as much in the words, faces and lives of those people lurking in dingy pubs and toiling away in sweaty factories as it can in the royal courts and on the bloody battlefields that somehow preoccupy so many of the world's historians.

Ian Holm gives a brilliant performance as Gould, managing to appear both larger and smaller than life as the situation warrants. Whether he is rhapsodizing poetically about the meaning of life or extending his palm out in a poignant gesture of humiliating beggary, Holm makes Gould a completely believable and thoroughly unique character. Tucci, as Mitchell, the passive observer, has the less flamboyant role, but he manages to convey the seemingly contradictory nature of a man who wants both to remain skeptical and to believe in the "truth" of Gould and what he stands for.

"Joe Gould's Secret" transports us to a fascinating time and place and gives us much food for thought once we get there. ... Read more

Reviews (10)

A story does not end when the writer finishes writing...
I watched "Joe Gould's Secret" without knowing that it was based on a true story, but was not surprised when that turned out to be the case because this 2000 film from actor/director Stanley Tucci rings true. Tucci plays Joe Mitchell, a columnist for "The New Yorker" magazine in the early 1940s who had a chance encounter with a Greenwich Village bohemian eccentric named Joe Gould (Ian Holm). His reporter's curiosity piqued, Mitchell asks around a bit and finds that Gould claims to be writing an epic Oral History of New York, an almost daily record of the conversations he has each day with the forgotten ordinary folks of the great metropolis (the Oral History has to be capitalized; that is clear from the way Gould and his friends talk about it). The notebooks containing this million-word history are secreted around the city with the various artist friends who provide Gould patronage by listening to him and making monetary contributions to the Joe Gould Fund. The rationale for their indulgence is articulated by the painter Alice Neel (Susan Sarandon) who tells Mitchell, "I have always felt that the city's s unconscious is trying to speak to you through Joe Gould."

Mitchell discovers that Gould is a walking contradiction, capable of both quick bursts of anger and madness as well as perceptive insights into the human condition. He proves his credentials at being a superb listener by doing a Henry Higgins and telling Mitchell he was born in North Carolina based on a single sentence. Mitchell writes two articles about Gould for "The New Yorker." The first, "Professor Sea Gull," makes Gould even more of a cult figure about the New York intelligentsia, and a publisher (Steve Martin) is interested in at least reading the Oral History. But Gould refuses to let excerpts be published, saying it is all or nothing, and declaring it will only be produced posthumously. Years later, after Gould died, Mitchell would write a second essay, from which this film gets its title. However the delicious irony of this film is that the secret that lies at its heart belongs as much to Mitchell as it does to Gould.

Holm has the flashy part as the brilliant madman, but it is Tucci's Mitchell that is the pivotal performance. "Joe Gould's Secret" is more about how Mitchell sees Gould than we do in watching the film. There is a scene early on when Mitchell tries to explain to his editor why he might want to rewrite an article that has already been accepted for publication. Mitchell gropes without success for the words to speak out loud and his editor can only laugh and point out that it is a good thing this Joe writes better than he talks. But the exchange is significant because it speaks to the depths of Joe's emotions and intellect. We see or hear little of what Mitchell writes; most of the voice over narration has him quoting the words of Joe Gould. So it is the looks on Tucci's face, the way he sets his body, the pace of his walk, that give us our only clues to the deep rivers of his heart, mind, and soul. "Joe Gould's Secret" is a film in a minor key, but it is a nice little gem all the same.

A little oral history never hurt...
Stanley Tucci has yet to direct anything that could have him labeled a sellout. His work is small in budget and action, big in character study. The true story of JOE GOULD is perfect for Tucci to continue his streak. JOE GOULD was a bohemian homeless genius that loudly created the most important piece of literature never to be published. Ian Holm (THE LORD OF THE RINGS) commands the screen as Joe and Tucci himself is rather touching as the magazine writer who acts as Gould's reluctant biographer. Much of his family life is rather charming which could be a story in itself. That might be because the film borrows from 2 sources, One where he reports on Joe Gould the author and the second where he reveals the truth about Joe. The film has a couple big cameos from Susan Sarandon to Steve Martin. The DVD has a nice video transfer.

What rough beast?
Watching this film, after having grown up with the Cummings version of Joe Gould (EE is mentioned peripherally, but does not appear in the film), I learned a great deal, and was profoundly moved by the interaction between the two characters and how it changed both their lives. I will not reveal the ending, except to say that it is something the film slowly builds up to, and it would not have the same impact without the rest of the film. Yes, as others have said, the pacing is a bit slow, but it really had to be that way - if you want to see a fast-paced film, try a search for Clint Eastwood. If you want to see a film about a successful and functional eccentric (albeit one with a tragic family), try Crumb. For a great tragedy about the lives of two writers and how they touched one another, this film will do nicely.

A literary genius.
This historical comedy-drama is based on the true story of Joe Gould, a bohemian eccentric who was a fixture in New York's Greenwich Village from his arrival in 1916 to his death in 1964. Gould, who claimed to be a graduate of Harvard, would cadge drinks and subsist on catsup as he regaled patrons of neighborhood saloons with stories, poems, opinions, and his imitation of a seagull. In a 1942 New Yorker profile by journalist Joseph Mitchell, Gould spoke of his life's work, a book entitled An Oral History of Our Times, which he claimed would be eleven times longer than the Bible, contain a variety of overheard conversations from throughout the years, and document the decline of 20th century culture. Mitchell kept tabs on Gould, and tried to introduce him to publishers who might put his work into print, but nothing ever came of it, and it wasn't until Gould's death that Mitchell discovered the surprising truth about his friend.

fascinating true life story
What is history? Is it nothing more than the accounts we read in books of the exploits of various kings, queens, generals, armies, nations etc. as they wage war or deliberate peace throughout the endless millennia? Or is it - as Tolstoy implied - the sum total of the day-to-day actions of ordinary human beings eking out an existence on this unique little planet we call Earth?

These are the questions posed by Stanley Tucci's "Joe Gould's Secret," an intriguing little film based on the true story of a well-known eccentric who lived amongst and associated with the New York literati of the 1940's. This tale is really about two "Joes" - Joe Mitchell, a highly successful writer at "The New Yorker," and Joe Gould, a strange but alluring figure who shuffles his way around town begging for handouts, yet who claims to be a writer currently involved in authoring a monumental "oral history" of the world around him. Intrigued by this true eccentric, Mitchell decides to feature Gould in one of his magazine pieces. Thus, the two Joes spend countless hours together as Mitchell examines, records and tries to understand the lifestyle and thoughts of this most unique and extraordinary of individuals.

The best part about "Joe Gould's Secret" is that it allows the title character to remain something of an enigma throughout. It doesn't try to "explain" him or rob him of the ambiguity that makes him so fascinating a figure. In many ways, Gould fits perfectly the image of the artist we have come to romanticize and even glorify in our minds over the years. He is often gruff, irrational and temperamental, prone to wide mood swings and occasional violent outbursts, yet he is also capable of making profound insights and he possesses an innate ability to afflict the "comfortable" living in their smug little materialistic worlds - a tendency that endears him to the, perhaps, equally smug Bohemians around him. That he has to "suffer" for his art - he is virtually homeless and relies on the pecuniary contributions of his "friends" to get him by - only elevates his standing both in his own eyes and the eyes of many others. Credit the complex screenplay by Howard A. Rodman for being able to see that Gould may himself be suffering from delusions of grandeur that the people who admire him and the work he is doing simply reinforce - perhaps because they like to have a "colorful" character hanging around or because it makes them feel good to be minimally and patronizingly kind to a fellow human being (you will note that only one of his concerned "friends" or patrons is willing to provide him with a place to live - so much easier to hand him a few dollars and send him on his way). Even Mitchell becomes highly conflicted in his feelings towards Gould. Though at first intrigued by his eccentric nature, Mitchell, once the article is published and Gould has served his purpose, begins to see the man as little more than a daily annoyance, a time-consuming irritant to be gotten rid of. As Gould slips ever further into the realm of societal castoff, "Joe Gould's Secret" begins to take on the air of a profoundly sad human tragedy.

Yet, in the end, it is what Joe Gould stands for - his insistence that we shine a light on the forgotten members of the working class and the down-on-their-luck societal "losers" - that ends up making the strongest mark on both Mitchell and us in the audience. Though we are often appalled by the lifestyle Gould lives, we can't help but acknowledge the truth of his core conviction. Real history CAN be found every bit as much in the words, faces and lives of those people lurking in dingy pubs and toiling away in sweaty factories as it can in the royal courts and on the bloody battlefields that somehow preoccupy so many of the world's historians.

Ian Holm gives a brilliant performance as Gould, managing to appear both larger and smaller than life as the situation warrants. Whether he is rhapsodizing poetically about the meaning of life or extending his palm out in a poignant gesture of humiliating beggary, Holm makes Gould a completely believable and thoroughly unique character. Tucci, as Mitchell, the passive observer, has the less flamboyant role, but he manages to convey the seemingly contradictory nature of a man who wants both to remain skeptical and to believe in the "truth" of Gould and what he stands for.

"Joe Gould's Secret" transports us to a fascinating time and place and gives us much food for thought once we get there. ... Read more

Reviews (62)

People should-a come just-a for the food...
Primo (Tony Shaloub) is a traditionalist, a perfectionist, an artist; he is a chef without compromise. His younger brother, Secondo (Stanley Tucci), will compromise, bend, wheel and deal; he is a desperate businessman who cares about food, but is realistic. Unfortunately, their little restaurant is way, way ahead of its time. When their 1950s customers go out for Italian food, they want red-checked tablecloths and lotsa spaghetti and meatballs, not risotto and delicate wine. How can their restaurant stay in business? It can't, but they try to save it with an all-out feast for a famous Italian jazzman. If you're the least bit hungry when you watch this film, you've got trouble, because food has never looked this good. It's a quiet, slow movie, but you get to know Primo and Secondo completely, and you find yourself wishing their restaurant was in your neighborhood so you could go there and give them all your money.

What a delight - but eat before you watch it
Eat before you watch this movie; otherwise, you'll end up painfully hungry and go stuff yourself with every bit of Italian food you can lay your hands on.

This is a simple story of two brothers struggling to fulfill their dreams - one to be a "success" in America; the other to be a great Italian chef.

Realizing the dreams of the first brother hinges on the success of one important meal depends on the skill of the second - and forces outside their control.

Tucci, Shaloub, Holm and company all give wonderful performances. There's no showing off by the many successful actors who are in this movie - they all just do a great job.

The climax of the movie is the banquet scene, and it's going to make you hungry and want to get up and dance.

The final scene which lasts for several minutes with the only dialog being one line - "are you hungry" - wraps up the movie nicely, and shows what a good director and actors can do when both understand the power of subtlety.

This is one fun movie - lots of laughs, amazing food, and a great soundtrack.

Wonderful "Little Film" -- So-So DVD
Stanley Tucci, as actor, co-writer, and co-director (with Campbell Scott, who also plays a pitch-perfect small part as a car salesman), deserves a great deal of the credit for this small, intimate, delightful film. But the film resonates because it got so many of the little touches right, from the ensemble cast to the soundtrack to the editing to the cinematography. So there is a lot of credit to go around.

Tucci plays Secondo, the aptly named younger of two Italian brothers who have emigrated to New Jersey from the Old Country. Secondo is the entrepreneur, the guy who wants the big Cadillac. Primo (Tony Shahloub), the older brother, is the magician of a chef. Primo is so good, in fact, that his culinary masterpieces go over the heads of the good folks of New Jersey. When contemplating a wonderful seafood risotto, a diner complains that she can't see the seafood, and that her desired side of spaghetti doesn't come with meatballs (inspiring the wonderful line, "Sometimes spaghetti wants to be alone").

Primo bemoans the fact that he is serving food to Philistines, but the sad fact is that most of the Philistines are eating across the street at Pascal's restaurant. Pascal, played with great zest by Ian Holm, knows that you have to give the customer what he wants -- even if it is culinary sacrilege. The contrasts between the restaurants, from the colors to the lighting to the clientele, could not be more staggering!

Secondo laments to Pascal of his financial woes, but refuses Pascal's (repeated) offer to come work for him. Pascal, being a big-hearted guy, tells Secondo to pull of a "big night," with no holds barred. Pascal will invite his good friend, Louis Prima, who will come, eat, and love Secondo's restaurant. Then, the people will come.

So the story builds to the big night (a side plot regarding Secondo's tortured love life notwithstanding), which is where the movie really takes off.

Organizing the banquet scene into courses, "Big Night" revels in the wonders that can only be brought about by great cooking. The cast has a difficult task -- how do you emote rapture without going over the top? The ensemble cast, which includes Isabella Rosselini, Minnie Driver, and Allison Janney, nails this task just right. The cooking scenes are also hectic and impressive without going over the top, too.

Following the big night, many truths are revealed, perhaps because it is impossible to deceive after having such a wondrous experience. If this film doesn't move you, or inspire you to get thee hence to an Italian restaurant, you have no heart!

But again, the heart of the movie is its dedication to the small touches. From Primo using his cup to tamp down his espresso grounds to the making of a simple omelet, this movie gets it all just right.

The DVD does not have much to offer as far as extras go. What it does have is one heck of little film.

A bland meal
I've seen BIG NIGHT described as "one of the great food movies". Let me clarify something here. The adjective "great" modifies "food", but not "movies".

Primo (Tony Shalhoub) and Secondo (Stanley Tucci) are Italian immigrant brothers who've opened the Paradise restaurant in an unidentified surfside town on the Eastern seaboard sometime in the 1950s. The elder Primo is a superlative chef, and both he and Secondo know it. But, Primo cooks to his desires and not the customers'. So, two years into the venture, the brothers are almost broke, the bank is about to repossess, and Secondo, the one with the business sense, is driven to despairing distraction.

Down the street is the competing Italian restaurant owned by Pascal (Ian Holm). While he admires Primo's talent, Pascal gives his patrons what they want, so his eatery is enormously successful. To help the boys out, Pascal arranges to have his friend, the Italian-American singer Louis Prima, come to the Paradise with his band for dinner. Secondo spends virtually the last of their savings preparing for the BIG NIGHT with the expectation that the event and its attendant publicity will yank them back from the brink of insolvency. In the meantime, he avoids emotional commitment to his girlfriend Phyllis (Minnie Driver) while having an affair with Gabriella (Isabella Rossellini), Pascal's mistress. After all, what are pals for?

The best bits of this film are the too infrequent cooking sequences. But the best ends there. BIG NIGHT doesn't know whether to be a drama or comedy, and succeeds at neither. The dialogue is flat and uninspired throughout, and the plot goes nowhere of interest. My wife, perhaps a dollop more impressed than I was, called the film a "character study". But no persona in this otherwise dull movie is engaging, and, indeed, I found Pascal's ebullient crassness positively annoying. About the only other good thing I can say about BIG NIGHT is that it uses as props some well-preserved, large tail-finned, period Cadillacs that will perhaps stimulate vintage car buffs.

Better films to rent that revolve around food preparation are MOSTLY MARTHA (2001) and EAT DRINK MAN WOMAN (1994). These, at least, portray characters to care about.

The American cinema needs more BIG NIGHTS!
The film "Big Night" is not a small little picture that was over-hyped by critics. The only person who would be disappointed in this film would be some 15-year old kid that was looking for some kind of "2 Fast 2 Furious" crap. Over all the Amazon editorial staff does a fine job of presenting the plot or scope of a film, book, or CD. In the case of "Big Night" I am left to wonder if the reviewer watched the film or just read the back of the DVD case. Her opinions are fine but in the review itself she wrongly guides the reader as to both the plot and the outcome of the movie- Two things that should never be done. ... Read more