Roger Ebert gave 'Big Night' four stars; I would give it 3 1/2, but it is still way out in front of most films these days. I stumbled across it at the public library; I have never seen it in a theater, in any video store or on cable. It belongs in that small but distinguished genre of Movies About Food. Its structure most resembles "Babette's Feast," where the dramatic climax of the film is a sumptuous yet exuberant banquet. Despite the characters' constant bickering and occasional fighting, this is a film of refreshing gentleness, an independent film of the type Hollywood seems incapable of even imagining, much less making. <br /><br />It is circa 1958 in what I take to be a Jersey shore town, although it could be anywhere from Maine to Maryland. Two brothers, immigrants from Italy, run Il Paradiso, a restaurant that is about to go under after two years. Primo (Tony Shalhoub) is the Bobby Fischer of chefs: Of superlative genius and creativity but impractical, difficult, a purist, disdainful of commercialism in any form. He is a dysphoric, dedicated Puck compared to Emeril Lagasse's Bottom (a metaphor, not a pun). Secundo (Stanley Tucci) is the younger brother, a good chef himself but trying to succeed mainly as the restaurant manager. The restaurant's impending failure is probably for several reasons but a big one is Primo's steadfast refusal to compromise his vision, to 'give people what they want,' unlike the tremendously successful Italian restaurant down the street run by Pascal (Ian Holm). Although Secundo is in constant chagrin about Primo's stiff-necked refusal to cater to public taste, he also recognizes that his brother's talent is rare and precious and hesitates to force the restaurant menu in a more popular and profitable direction. Eventually Pascal, who claims to know everyone, offers to help out by delivering bandleader Louis Prima to Il Paradiso so that they will profit from the publicity. But the film, though sweet, also establishes an undertone of such mournfulness that the viewer is not surprised when Prima never shows up, in fact, was never going to show up; it was a brutal trick by Pascal, who recognizes the brothers' abilities, so that they would be forced to close the restaurant and, he hopes, go to work for him. But that is not where the impact of the denouement lies, and there is no neat Hollywood-style resolution at the end, just an affirmation of the two brothers' love for each other and their dedication to good cuisine.<br /><br />Stanley Tucci's endeavors in independent film-making aren't always successful (viz., The Impostors), but this one is one of his triumphs. He and the Wisconsin Lebanese Tony Shalhoub speak what sounds like very convincing Italian to each other. When Shalhoub played Antonio Scarpacci in 'Wings,' his faux Italian accent was comical, but it sounds real in 'Big Night.' Minnie Driver shows up in a supporting role, with hair dyed a sort of carrot color, again doing her perfect American accent. Allison Janney, as Primo's romantic interest, gets more screen time than her supporting billing would suggest. Isabella Rossellini has a small but crucial role. Watch her switch between English and her native Italian: In Italian, all of her linguistic mannerisms change, and she suddenly becomes much more natural and animated. The production designer chose mostly pastels for this film, which work very well. One unconvincing detail in the film is that, although it appears to be the 'on' season from the weather, the street the restaurant is on is always nearly deserted despite being only a couple of blocks from the beach. There should be more people walking to and from the beach. Perhaps the budget didn't permit hiring, dressing or directing the extras you'd need to populate the street with summer beachgoers, or perhaps the absence of people on the street is a deliberate metaphor for the poor business the restaurant is doing.