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BEIRUT: Movies seem to have problems working with certain sensation
, smell for instance, yet the performative aspects of food-preparation and consumption have generated an array of superb international film.Juzo Itami's "Tampopo" (1985), Ang Lee's "Eat Drink Man Woman" (1994), Campbell Scott and Stanley Tucci's "Big Night" (1996), dozens more, all take up photographic conventions pioneered by schlock porn, and tempered by television cooking shows, to worship at the altar of culinary pleasure and, therefore, the priesthood of chefs that traffic in its secrets.
In recognition of the significance of food film, it seems, the 2010 edition of the Beirut International Film Festival has a small selection of culinary movies which afford BIFF an excuse to screen "Soul Kitchen," the 2009 frolic by the multiply feted German writer-director Fatih Akin.
Frolic is exactly what this elaborately plotted movie is. While the settings and characters will be familiar to aficionados of Akin's razor-edged tales of life on the deracinated edges of Germany and Turkey "Gagen die Wand" (2004), say, or "The Edge of Heaven" (2007) "Soul Kitchen" harkens back to Akin's earlier affection for romantic comedy, populated by colorful caricature, a-la "Im Juli," which he released a decade ago.
Here, Zinos (Adam Bousdoukos) owns a thriving warehouse-cum-restaurant in a rundown rail yard neighborhood of Hamburg, where he serves cheap pre-packaged grub to blissfully undiscriminating customers.
Zinos sits at the cusp of two quite different sectors of Hamburg's globalizing society.
On one hand his haute-bourgeois girlfriend Nadine (Pheline Roggan) is about to embark upon an adventure as a foreign correspondent in Beijing.
She would have Zinos leave the restaurant and join her in her travels and, when confronted with daily realities without her, that's exactly what he decides to do.
On the other hand, Zinos' brother Illias (Moritz Bleibtreu) has just been released from prison on day parole. A con man and a petty thief belonging to that order of scoundrel that always does most damage to himself and his loved ones, Illias talks Zinos into claiming to have hired him to work in the restaurant, so his day parole can be extended.
Deciding to join his missis in Asia but not wanting to abandon the restaurant, Zinos decides to hire someone to run Soul Kitchen for him. A series of mishaps complicates this simple procedure.
Every food movie requires at least one slightly mad food-prep high priest and Akin comes to his by characteristically eccentric means. When Zinos gives himself a herniated disk while trying to move a dishwasher, Anna, a pretty Mediterranean-looking massage therapist (he can't afford health-care coverage, placing a German doctor well outside his reach) tells him he must take a break from the kitchen.
So he hires a new chef (Birol Unel of "Gagen die Wand" in comic mode), whom Akin in a clever homage to Tsutomu Yamazaki's "Goro" in "Tampopo" has named "Shayn."
A temperamental chef, Shayn's just got the sack from his gig in a snotty restaurant after knifing the tabletop of an oaf who wants his gezpacho zapped in a microwave. Shayn promises to transform Soul Kitchen from a greasy spoon selling 24 items that all taste the same to a low-cost dive selling haute cuisine.
Naturally he drives off all Zinos' regular customers immediately, but when an art school takes over a disused warehouse space down the street from the restaurant, the new neighbors' tasteful palates secure Zinos a new clientele.
The night Zinos meets Shayn, he also runs into Neumann (Wotan Wilke Mhring), an elementary school classmate who has devolved into the lowest species of bottom-feeding real-estate developer.
When Zinos tells him he owns a restaurant in a run-down part of town just ripe for property development, Neumann immediately becomes interested in renewing their friendship hoping to buy him out and make a fortune by flipping the property to a breath-mint-munching millionaire client (Udo Kier), whose manner is redolent of all the human warmth and charisma of Adolf Eichmann.
More characters open up further corridors of sub-plot from hardnosed German state officials (a health inspector in one instance, a door-to-door tax collector-cum-succubus in another) to "Kemal the Bone crusher," a moustachioed Turkish medicine man who with a length of rope, a piece of two-by-four and a good deal of blood-curdling screaming promises to fix your bad back.
All of these serve to subvert audience expectations that Zinos will simply find a restaurant manager, get on a plane and find happiness in Beijing.
As this is Akin in light-hearted mode, you can rest assured that no tragic outcome is utterly terminal.
Like the prodigious sub-genre of auteur-driven food-centered romantic-comedies that have come before "Tampopo," "Big Night" and "Eat Drink Man Woman," etc etc "Soul Kitchen" is not really about food.
Like its subplot of gluttonous real-estate development (and the little boys-cum-miscreants who abet it), Soul Kitchen's evolution from greasy spoon to something else suggests a parable of this (still new) century.
Yes, Akin seems to suggest, the late-model Eichmanns and their retainers do have the means to change the face of the landscape, and destroy much that is good in the process. If you can muster the energy to get out of your own way, though, good things can sometimes come of change, bearing with them flavors that even normal people can savor.
Beirut could use a door-to-door tax collector-cum-secubus or two.
"Soul Kitchen" will screen for the last time at Metropolis Cinema - Sofil on October 13 at 3 pm.
Read more: http://www.dailystar.com.lb/article.asp?edition_id=1&categ_id=4&article_id=120250#ixzz2jPoeTYuq
(The Daily Star :: Lebanon News :: http://www.dailystar.com.lb)
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