It's the 1950s; two brothers, Primo (Tony Shalhoub) and Secondo (Stanley Tucci) have recently emigrated from Italy and landed on the Jersey shore where they are trying to make a go of their Italian restaurant, the "Paradise." Business, however, is not good; Primo is a genius chef, but insists on preparing meals fit for the gods (like his exquisite risotto) rather than the mere mortals who only occasionally stop in to sample the elegant offerings of their board of fare. Secondo, the businessman of the two and the visible presence in the restaurant, has tried time and again to reason with Primo in regards to the menu, but to no avail. And now, the Paradise is on the verge of going broke; the bank is about to foreclose.
Help often comes from the least likely quarter, however, and so it is here, when Pascal (Ian Holm), the owner of a rival (and quite successful) restaurant offers to do them a favor. He offers to call his friend, the famous jazz musician Louis Prima, to invite him and his entire band and entourage to dinner at the Paradise, which just may provide the shot in the arm the restaurant needs to stay afloat. And so Primo and Secondo prepare for the biggest night of their lives, the one "big night" that is going to save them and keep their dream of making it to the top-- "their" way-- alive.
Working from a screenplay written by Tucci and Joseph Tropiano (Tucci's cousin), directors Tucci and Scott deliver a thoroughly engaging and entertaining film, a little gem that is worth any number of Hollywood blockbusters put together. The characters are sharply drawn and presented with humor and poignancy that resonates with honesty and realism. It's the kind of film that opens itself up and invites you in with the promise of a sumptuous feast awaiting between the opening and closing frames, then makes good on that promise. Collectively, the filmmakers have a studied and subtle touch that makes this film appealing and accessible to everyone and anyone who has ever aspired to something better. And they make it very clear that theirs is a pursuit of the heart, rather than the cold comfort of a viable bottom line. They actively seek out the humanity that resides at the center of their story, and finding it, they convey it to their audience with a sure hand devoid of any pretensions or undo sentimentality. There is, without question, sensitivity in their approach, but it is restrained and effective and allows the drama to play out in very real terms. The characters are people you quickly grow to like, similar in nature to those who populate Bonnie Hunt's wonderful "Return To Me" (which starred Minnie Driver, who is also featured in this one).
One of the elements that sells a film, even one which seemingly has everything going for it to begin with, is the performances; and the ones here are first rate all around. As the brothers, Shalhoub and Tucci each take an understated approach that makes their characters convincing and real. Tucci, especially, lends incredible nuance to his portrayal of Secondo. Watching him perform a basic task like preparing food in the kitchen becomes spellbinding; the way he approaches the counter, scrapes a knife on the cutting board before he begins chopping and slicing, the second nature of the way he wipes his hands on his apron or removes a skillet hanging overhead and places it on the stove. It's all SO real that it puts you right there in the kitchen with him. And it makes you a part of the experience rather than merely an observer. The same can be said for Shalhoub. His portrayal of Primo is a study in precision, and the mannerisms shared by Primo and Secondo and the way they connect with one another makes the casting of them as brothers entirely believable. Their relationship has that necessary sense of lifelong history about it that makes it genuine.
As Pascal, Ian Holm gives an energetic and larger-than-life performance that makes his character a decided presence in the film, and it makes his pivotal role in the story convincing. And as Pascal's girl, Gabriella, Isabella Rossellini leaves a lasting impression, as well, with a performance that is discriminatingly seductive.
As Secondo's romantic interest, Phyllis, Minnie Driver is charming and irresistible. Her screen time is comparatively limited, but Driver makes what she has significant, with an expressiveness that makes Phyllis endearing. And with her eyes and facial expressions, Driver speaks volumes. It's a winning performance that makes Phyllis an unforgettable character.
Also effective in smaller roles are Allison Janney as Ann; Campbell Scott as Bob, the most convincing car salesman to grace the screen since Kurt Russell's Rudy Russo in "Used Cars;" and Liev Schreiber as Leo. The ending of "Big Night" is somewhat ambiguous; but staying true to the story, it is the ambiguity of "life" itself. And a more perfect ending there could not possibly be.
