The Dinner Rush Gamble, Who’s at Fault? A Family Battle Between Class and Status
By: Sarah Sewell-Conley
Introduction:
The film, Dinner Rush, was definitely one with a lot of action and many twist and turns. This film followed the main storyline of three best friends: Louis Cropa, a part time bookmaker and restaurant owner, Enrico Coventie, and Gary Lieberman. The overall plot of this film was to get revenge on a gangster gang as a result of the death of their friend, Enrico Coventie. There is also a new Italian restaurant opening up right next door to an existing Italian restaurant. Let the competition begin.This film focuses highly on gender from the males perspective, class status based off of family relationships, and does a great job at representing culinary capital throughout the film as well.
Male Perspective of Gender:
The perspective of gender is heavily revolved around the male perspective throughout this entire film. The male presence is highly represented from the kitchen staff as well as the by Udo, the main chef of the restaurant. One of the main chefs of the restaurant is Udo Cropa, he is Louis Cropa’s son. Udo’s demeanor comes across as very male dominant when he is speaking to his employees. He gives direct orders, and expects perfection in performance when one of New York City’s well known restaurant critics and food nymph’s , Jennifer Freely comes for a visit. As a result of this Udo becomes more direct than ever toward his staff, he gives the hardest time in particular his sou chef Duncan who is just trying to do his best by Udo. The male perspective regarding gender is very animal like, for example, alpha and omega. This is shown between Udo and Nicole Chan. Udo is very aggressive when presenting public displays of affection towards Nicole. On the other hand there is Duncan, Udo’s sou chef, who is also someone that Nicole has been involved with. Duncan unlike Udo is very kind and gentle around Nicole to show he likes her, and I think throughout the film Nicole appreciates Duncan’s approach around her rather than Udo’s.
Class Status:
Class status throughout this film is easy to spot. It is represented throughout this film by Udo and his father Louis Cropa, food critic/food nymph, Jennifer Freely and Udo, and lastly by Udo and his sou chef Duncan. Udo presents this representation of the alpha male in two out of the three relationships. He has a very specific way in which he wants to he wants his food prepared and is very direct toward his staff and family. Udo’s dad, Louis Cropa however, is very clear to put Udo in his place.
Udo wants nothing more than to prove to his father that he knows what he’s doing when it comes to cooking and being a chef and owning a restaurant, between the two we see this a traditionalist (Mr. Copra) vs. someone more classy and elegant (Udo). Udo tells his father,”I’m workin’ my ass off here and I think it’s time I was more than just an employee. Top food writer in the city is all over me about it. Pretty soon I’m just another face in the kitchen.” (52:07-52:14). Mr. Cropa’s response is,”I understand, but this is hardly the time to discuss it.” (52:14-52:16). Udo retorts back with, “There’s never a time with you. I want to be an owner. I want to be a partner. I deserve it and it’s time.”(52:20-52:22). Mr. Cropa explains to his son, “I’ve only had two partners in my life, and they both died on me. I can do without any more partners.” (52:24-52:29) “Forget it.” (52:30). “You know you can’t threaten your old man.” (52:22-52:23). From these small clips of dialogue between Mr. Louis Cropa and his son, Udo we can tell that Udo is tired of being brought down by his father’s power and just wants to be seen and make him proud. Udo’s already a hard worker yet, Mr. Cropa doesn’t seem to think in the current moment that Udo needs to change anything. Mr. Cropa represents more of a traditionalist mentality throughout the entire film whereas Udo, is more adventurous when it comes to flavors, presentation of food and the presence he shows his customers. This entire scene is a great representation of class status, because not only does it present difference of opinion when it comes to father and son but it really represents a element of status with lower middle class vs. upper middle class society between the two men.
Throughout the film, food critic Jennifer Freely, is a name that is widely known all throughout New York. When she takes a visit to Udo’s restaurant, everything must be perfect. Jennifer Freely is of very high class and status, she is one of the most recognized names in the food industry throughout this film and therefore is a big deal to Udo and his career. “Jennifer Freely is upstairs wearing the most hideous wig. Freely’s not on Tuesday. Who’s she with? A georgous babe. I think she’s known around the biz as the “food nymph.” “Shit, shit.” “And that pain in the ass Fitzgerald wants you at his table to show you off to his artist friends.” “Great.” “Good luck star chef.” (47:02-47:23). “Everybody get this, and get it straight! Upstairs is one of New York’s most important food writers. I don’t want a mistake, not one mistake. Every morsel of food that leaves this kitchen from this moment on has gotta be perfect. Perfect! Shit. What?” (47:26-47:38).
Culinary Capital
Last but not least, is the representation of Culinary Capital, which is also highly present throughout this film. This film is highly representing Italian cuisine. “Specials tonight are… Pere robiole speck. That’s grilled red pear, imported Robiola cheese, and smoked prosciutto with yellow tomato dressing. Panelle… chick pea fritters and goat cheese with sautéed wild mushrooms. Insalata…” “I’m sorry.” (10:16-10:31). All of these dishes listed represent culinary capital because Italian cuisine holds an expensive attachment to how food is presented and represented overall to an audience. Throughout this film as well, flavors are are represented well through the use of fresh ingredients as opposed to processed canned foods.
It brings a more natural authenticity to the dish as well, and the Cropa’s pride themselves on exquisite food and overall great representation of Italian culture. When Jennifer Freely, one of his dishes he responds, “This is Montauk lobster and rock shrimp. It’s in a champagne shallot sauce with vanilla bean, and it’s garnished with salmon caviar and Tobiko caviar, which has a wasabi flavor, and some chives.” (1:05:41-1:05:50).
Another example of culinary capital, is with Jennifer Freely’s partner, Udo asks her what she thought of the dish, and this is the conversation. “What did you think?” (1:08:41) “She’s thinking about what’s coming next.” (1:08:43-45). “So, tell me, chef, what is the history behind this culinary creation?” (1:08:46-1:08:52). “Actually it’s a dish my Uncle Enrico used to love. Is that Uncle Enrico on the menu? On the menu? No. “Hey Ademir, can I have a menu?”(1:08:53-1:09:01) “On the menu is a picture of my father and his grandfather playing in the backyard in New Jersey. Then who’s Gigino?… My father’s real name is Luigi. “Gigi” is the nickname for that, and “Gigino” is “Little Gigi.””Italians are crazy about nicknames I guess.” (1:09:01-1:09:28).
This whole conversation represents culinary capital because it brings into the picture of how Italian culture and family history hold truth to culinary capital. Having little pieces of history throughout the restaurant and the family association indicates importance because of representation of Italian culture.
Reference:
DiGiaimo, L. (Producer), Giraldi, B. (Producer), Greaney, P. (Producer), & Giraldi, B. (Director). (2001). Dinner Rush [Motion Picture]. United States: New Line Cinema.