Stanley Tucci

Big Night

Critics tripped all over their big feet to praise Big Night, and in doing so performed a grave disservice to this fine little film. They fooled audiences into believing it was a "super movie" instead of a home movie buoyed by friends and family. Consequently, many viewers were disappointed. Big Night is an intimate look at the immigrant struggle to attain the American Dream, set in New Jersey in the 1950s. Its disproportionate success gave co-directors Stanley Tucci and Campbell Scott, who also star in the picture, the green light to follow up with a smug, unsuccessful second venture called The Imposters. Tucci wrote Big Night with his cousin Joseph Tropiano, and they based the story on the experience of growing up in a large, proud Italian family. The brothers in Big Night--chef Primo (Tony Shalhoub) and businessman Secondo (Tucci)--have come to New Jersey to open a bistro named The Paradise that serves the finest in traditional, authentic Italian cuisine. Their every move is foiled by rival restaurant Pascal's, which serves mile-high servings of spaghetti and meatballs and flasks of bad Chianti at exorbitant prices. Primo is disgusted by the fact that Americans want cheap pasta instead of risotto, so Secondo hatches a plan to boost business: rumor has it bandleader Louis Prima is travelling through and will dine at The Paradise that very night. Secondo gambles to bring the finest dinner ever cooked--at the risk of losing his shirt and being reduced to exile to the old country with his tail between his legs. Big Night is a film that will easily invite comparisons to other "food" fare like Babette's Feast and Eat Drink Man Woman but, though Tucci insists his story is "about the struggle between art and commerce and the risk of staying true to yourself," the media refused to let it stay a small, comparative work. The movie, and the buzz around it, became a parable for the essence of the film itself: art vs. commerce. --Paula Nechak

A treat for movie lovers and food lovers everywhere Big Night is the story of two Italian brothers whose superb restaurant is on the brink of bankruptcy. Their only chance is to risk everything they own on one "big night" that will make them or break them.System Requirements:Starring: Minnie Driver Ian Holm Isabella Rossellini Tony Shalhoub and Stanley Tucci Director: Stanley Tucci Campbell Scott Copyright: 1996 Columbia Produced by Jonathan Filley; written by Stanley Tucci Joseph Tropiano; DVD released on 04/07/1998; running time of 109 minutes; Closed Captioned. Interactive Menus Subtitles: English Spanish Theatrical Trailer Scene Selections Widescreen Format Dolby Surround Presented in the original theatrical aspect ratio approx. 1.85:1Format: DVD MOVIE Genre: COMEDY Rating: R UPC: 043396810198

The Impostors

It's unfortunate to report that The Impostors--a misguided, but slightly noble, attempt to return to both the Hope and Crosby Road movies as well as the screwball comedies of the '30s and '40s--really, really doesn't work. Writer, director, and star Stanley Tucci (who created the gorgeous Big Night) plays Arthur, who along with Maurice (Oliver Platt) finds himself stowing away on an ocean liner and forced into multiple masquerades. The film has a dream cast of supporting players, including Steve Buscemi, Tony Shalhoub, Isabella Rossellini, and Campbell Scott, but the humor never works and this vessel founders quickly. --Keith Simanton

Meet Authur (Stanley Tucci) and Maurice (Oliver Platt), two out-of-work actors who escape from the police by stowing away aboard a luxury liner. But soon the ship hits the fan, and the impostors must give the performance of a lifetime - not only to evade the authorities, but to foil the dastardly plot of a deranged crewman who has explosive plans for eveyone on board.

Joe Gould's Secret

Based on a pair of delicious character portraits by The New Yorker writer Joseph Mitchell, "Professor Sea Gull" and "Joe Gould's Secret," Stanley Tucci's film is an often lovely study in opposites that never quite realizes the delicate complexity of Mitchell's rich essays. Tucci plays Mitchell, a transplanted southerner in New York with a honey-smooth lilt and a careful detachment from the world. When he sketches a profile of disheveled bohemian Joe Gould (Ian Holm at his scruffy, scrappy best) for The New Yorker, he inadvertently becomes a part of the volatile little man's life, and the chaos shakes up his carefully ordered world. As in his first film, Big Night, Tucci shows a sensitivity to performance and an easy naturalness in his direction, and his evocation of 1940s New York is understated but beautiful. Holm creates a vivid firecracker of a frustrated artist, an explosive personality whose character quirks add an almost aggressive edge to him. Gould is never cute, but Holm creates a sad sympathy for his frustration. But the real story is Mitchell's troubled relationship with the man and his own guilt and responsibility when he "escapes" Gould. There's a quiet melancholy when we discover Joe Gould's secret, but in a way it's only the prologue to Joe Mitchell's secret. Tucci's careful, precise direction is heartfelt and well meaning, but never cracks Mitchell's social mask to reveal the man underneath. --Sean Axmaker