Post by Boz on Jul 27, 2006 7:32:53 GMT
Dinner Rush
Directed by Bob Giraldi
2000
In this widely unseen turn of century gem, director Bob Giraldi, best known for his work in music videos, crafts a far-reaching portrait of one eventful night in a hot New York Italian eatery. Giraldi's film becomes a living creation of sorts, Altmanesque in it's scope and ambition; multiple characters, intertwining story lines, a mix of varying emotional elements, not necessarily with one clear overriding theme to tie the piece together as a whole, which works here to produce positive results.
Our main character is Louis Cropa, an aging, well-respected, well-liked restaurateur and bookmaker, played with wisdom and finesse by the under-appreciated Danny Aiello. Two small time hoods, known mostly by their nicknames, Black and Blue, look to move in on Cropa's business. First they let one of Cropa's prized chefs run up a gambling debt, then they kill Cropa's partner Enrico, and finally, on the fateful Tuesday night in which our story takes place, they sit down for a seemingly peaceful meal at Mr. Cropa's restaurant, to not only collect on their bets, but also to try to muscle in on Cropa's bookmaking and restaurant operations.
While this basic premise alone may sound like your typical independent mob-drama, it is Giraldi's inclusion of several other side characters that not only gives the film depth and a real sense of character, but also helps it appeal to a wider range of audiences. Giraldi shows real moments of directorial inspiration intermittently throughout the film, breathing new life into the oft-cliched use of slow motion, as well as executing some interesting scenes involving cross-cutting. He's able to give each one of his characters a distinct and definite personality, whether they be charming or detestable, all within the easily watchable 99 minute running time, and nothing feels amiss. Giraldi clearly benefits as well from a stellar cast of mostly unknowns, the standout being Edoardo Ballerini as head chef Udo Cropa, son of Aiello's character. Some might recognize Ballerini from his Season 6 stint on the Sopranos as Christopher's weaselly heroine buddy, Corky Caporale.
Ultimately, this film surprised and captivated me. Definitely a piece that gets better the more familiar you are with it, noticing a little nuance here and there every time. The night builds with tension and anticipation, truly pulsating with the energy that might be expected from such a restaurant, and Giraldi doesn't disappoint. I've come to consider the ending here as one of the most gratifying in recent cinema.
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Directed by Bob Giraldi
2000
In this widely unseen turn of century gem, director Bob Giraldi, best known for his work in music videos, crafts a far-reaching portrait of one eventful night in a hot New York Italian eatery. Giraldi's film becomes a living creation of sorts, Altmanesque in it's scope and ambition; multiple characters, intertwining story lines, a mix of varying emotional elements, not necessarily with one clear overriding theme to tie the piece together as a whole, which works here to produce positive results.
Our main character is Louis Cropa, an aging, well-respected, well-liked restaurateur and bookmaker, played with wisdom and finesse by the under-appreciated Danny Aiello. Two small time hoods, known mostly by their nicknames, Black and Blue, look to move in on Cropa's business. First they let one of Cropa's prized chefs run up a gambling debt, then they kill Cropa's partner Enrico, and finally, on the fateful Tuesday night in which our story takes place, they sit down for a seemingly peaceful meal at Mr. Cropa's restaurant, to not only collect on their bets, but also to try to muscle in on Cropa's bookmaking and restaurant operations.
While this basic premise alone may sound like your typical independent mob-drama, it is Giraldi's inclusion of several other side characters that not only gives the film depth and a real sense of character, but also helps it appeal to a wider range of audiences. Giraldi shows real moments of directorial inspiration intermittently throughout the film, breathing new life into the oft-cliched use of slow motion, as well as executing some interesting scenes involving cross-cutting. He's able to give each one of his characters a distinct and definite personality, whether they be charming or detestable, all within the easily watchable 99 minute running time, and nothing feels amiss. Giraldi clearly benefits as well from a stellar cast of mostly unknowns, the standout being Edoardo Ballerini as head chef Udo Cropa, son of Aiello's character. Some might recognize Ballerini from his Season 6 stint on the Sopranos as Christopher's weaselly heroine buddy, Corky Caporale.
Ultimately, this film surprised and captivated me. Definitely a piece that gets better the more familiar you are with it, noticing a little nuance here and there every time. The night builds with tension and anticipation, truly pulsating with the energy that might be expected from such a restaurant, and Giraldi doesn't disappoint. I've come to consider the ending here as one of the most gratifying in recent cinema.
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