BIG NIGHT
Starring: Tony Shalhoub, Stanley Tucci, Ian Holm, Minnie Driver, Isabella Rossellini, Allison Janney & Marc Anthony
Directed by: Campbell Scott & Stanley Tucci
Written by: Stanley Tucci & Joseph Tropiano
Rated: R
Running Time: 1hr 49mins
National Board of ReviewFor excellence in filmmaking
National Society of Film Critics Awards – Best Supporting Actor (
“The film BIG NIGHT was born first of a desire on the part of my cousin Stanley Tucci and myself to create a movie in which Italians are portrayed not as cliched, spaghetti-serving sentimentalists, nor as murderous, back-stabbing Mafiosi, but as the complex, difficult, funny, stubborn, wonderful people they are.” – Joseph Tropiano – From the novilazation BIG NIGHT: – Introduction
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Every so often, a small independent movie comes along that really stands out. 1996’s BIG NIGHT is one of these movies. A simple story filled with impressive performances by some of cinema’s best character actors, it shines in its treatment of the people who live within its cinematic framework. It’s a gentle, bittersweet tale that explores the themes of authenticity in what we, as humans, both do and love, as well as our need to sometimes sacrifice much of what we feel passionate about in order to move successfully forward in the world. The filmmakers refuse to rely on overblown plot twists or action scenes to engage the viewer. Instead, it’s through the characters’ inner struggles that genuine emotions are unveiled, adding some real depth to the presented themes. The film has been meticulously put together with a lot of passion, choosing to stay small in its presentation and the five-and-a-half-minute single shot, which makes up the final scene, is subtle in its emotions, making it one of my all-time favorite movie endings.
The story centers around two Italian brothers who migrated to America in the 1950s. They aspire to create an authentic Italian restaurant and introduce exquisite cuisine to the American palate. The older brother, Primo, is an uncompromising master of traditional Italian cuisine. It’s his passion for the dishes he creates that gets in the way of the restaurant’s success. He has a hard time making compromises with his recipes in order to please the customers who want more Americanized versions of the food he prepares. Meanwhile, Secondo, the younger brother, struggles to keep the restaurant open. He understands the importance of satisfying their customers, no matter what, in order to ensure their return. This creates a conflict between the two brothers, making it difficult to manage the restaurant effectively. To make matters worse, if the two men can’t find a way to bring in some quick money, the bank plans to foreclose on the restaurant at the end of the month. This will leave the brothers with no other choice than to either return back home to Italy or take jobs working for the more Americanized Italian restaurant next door run by their competitor Pascal, who seems a little too eager to have Primo as his chef. Their only hope for the future seems to be the forthcoming feast that they decide to create when promised a visit from singer Louis Prima, whose endorsement of their food could bring the customers back and save the restaurant.
Much of the movie’s success can be largely attributed to the lead actor, Stanley Tucci, who also co-wrote the script with Joseph Tropiano and co-directed the film with fellow actor Campbell Scott. Tucci has chosen to tell an honest story that explores emotional themes centered around realistic characters. The script effectively delves into the theme of art versus commerce and, much like Primo’s fine cuisine, is carefully crafted with love while remaining devoid of any added elements whose sole intention would be to attract more viewers. At one point, while discussing the need for Louis Prima’s attendance at the restaurant to help boost attendance, Primo says, “The people should come just for the food.” Secondo responds with, “I know that… I know. But they don’t.” Primo’s attitude seems to be more in line with the filmmakers as Tucci and Scott ultimately create a film where quality informs every artistic choice. As a matter of fact, according to IMDB, before distributing the film, MGM wanted to change BIG NIGHT’s ending and ultimately dropped the movie from its lineup because Tucci and Scott as directors refused, a choice that allowes the movie to end on a more honest and emotional beat.
Overall, BIG NIGHT is primarily a showcase for its actors. The different character’s personalities are both authentic and relatable, as the script subtly presents some very real struggles through Primo and Secondo’s personal relationship, as well as their relationships with those around them. Like the dishes showcased throughout the film, BIG NIGHT feels genuine because it’s filled with the right ingredients – the characters. Each has their own individual story to tell, but it’s when these stories come together that the movie comes to life. The characters, as written, complement each other in a way that allows each to give the others more depth and it’s through the nearly flawless performances that these characters really shine.
The most compelling conflict in the movie arises from Secondo and Primo’s contrasting approaches to life. Tucci’s Secondo came to America to pursue a better future, no matter the cost. If that means sacrificing his Italian roots in order to please the customer, then that’s what he’ll do. Meanwhile, Primo, played by Tony Shalhoub, is the complete opposite. He is an uncompromising artist passionate about the food he serves and the life he left behind. He brings an almost religious attitude to the food he cooks. At one point, he even says, “To eat good food is to be close to God.” He’s a man who seems to have only moved to the States to follow his brother. Their relationship is a frustrating one for both, but as portrayed by Tucci and Shalhoub, the viewer can still feel how close they are as brothers and best friends. Through their performances, the actors effectively explore the ups and downs of each character’s story, providing their brotherly relationship with some real emotional depth.
The inclusion of the two brothers’ romantic relationships reveals even deeper aspects of who they really are as men. Secondo, at first, comes off as a very sympathetic character, someone we want to feel for as we root for him to succeed in his business. It’s his relationships with Phyllis, played by Minnie Driver and Gabriella, played by Isabella Isabella Rossellini, that help to showcase the flaws that make him who he is deep down. Phyllis is an American woman with whom Secondo can see himself settling down with and works as a symbol of his acceptance of the American culture. Minnie Driver is especially good as the supportive girlfriend who, in the end, is given the perfect conclusion to her story, a conclusion that is not only right for Phyllis but necessary for Secondo’s inner growth as well. Meanwhile, Primo, through his attitude towards cooking, is portrayed as incredibly confident and it’s his awkward relationship with the local flower shop owner, Anne, played by the always reliable Allison Janney, that introduces viewers to the other side of who he is. He is attracted to her and wants to ask her out, but his unexpected shyness and discomfort, give the viewers a chance to witness moments of his self-doubt and nervous discomfort when it comes to having a deep relationship with someone than his brother. Janney is especially good as the shy girl who wants Primo to ask her out but is unsure how to handle the fact that he remains distant.
The rest of the cast is excellent as well. Marc Anthony is an effective background player as the mostly silent Cristiano, an employee at the restaurant and Campbell Scott makes an interesting cameo appearance as a used car salesman. It’s Ian Holm who makes the biggest impact, though. He plays Pascal, the owner of the competitive restaurant across the way. Pascal runs a restaurant that is the complete opposite of Secondo and Prima’s. He gives his customers everything they want, even if it means going against every tradition that Primo holds dear. Holm’s portrayal of Pascal is both fun and questionable. He effectively portrays the character as a true friend to Secondo while still allowing some interesting moments to pass in a way that keeps the viewer off guard about his intentions. Is he a true friend looking out for Secondo and Primo or are their ulterior motives at work?
Ultimately, BIG NIGHT is a smart, sometimes humorous movie that doesn’t offer up any easy answers to the struggles that the characters are faced with. When it comes to the theme of art vs commerce, the filmmakers have chosen the side of art in their approach to storytelling. Ironically, this may be one of the reasons that the film never really reached a large audience and has gone mostly unnoticed (although those who’ve seen it seem to love it). It’s the idea of giving the viewers quality without sacrifice that makes it as good as it is and now it’s now our job as viewers to find a way to uncover this hidden gem and spread the word so it can be discovered by the larger audience that it deserves.
Watch BIG NIGHT
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