THE STORY – A 19-year-old Anthony Bourdain travels to Provincetown and stumbles into the chaotic world of a restaurant kitchen, setting off a summer that will shape the course of his life.
THE CAST – Dominic Sessa, Emilia Jones, Dagmara Domińczyk, Rich Sommer, Stavros Halkias, Leo Woodall & Antonio Banderas
THE TEAM – Matt Johnson (Director/Writer), Matthew Miller, Todd Bartels & Lou Howe (Writers)
THE RUNNING TIME – 106 Minutes
Any individual who finds themselves at a moment of achieving any kind of revered status in history is bound to find their life dramatized. The public’s inherent fascination with such figures is insatiable, and it’s natural to look at the totality of their lives and find something worthy of exploration in a different form of storytelling. There’s no doubt that many corners of Anthony Bourdain’s life were unique and intriguing, as his celebrated career as a writer and chef captured attention all around the world. It makes sense for his personal story to be attractive to storytellers, though the film “Tony” takes the approach that the more successful biographical works tend to adopt. A small sliver of a person’s life is emphasized, setting the stage for character evolution and growth into the more well-known personality. It’s a foundation that is serviceably established, mostly supported by an enticing performance at its core.
Set in 1975, the film follows a young Bourdain (Dominic Sessa) who has already established himself as a marginally talented but self-obsessed artist and has set his sights on a writing career. He’s confident that a fellowship grant will be awarded to him, a point of superiority that looms large in the household. However, when those plans fall through, a devastated Bourdain sees fit to nurse his bruised ego. In the spur of the moment, he plans a trip to Provincetown, knowing that Nancy (Emilia Jones), another college student whom he fancies, is going there for the summer. His intentions are done without her knowledge, and upon arriving and seeing her being friendly with another man in her company, he spirals out in a local restaurant, becoming intoxicated and eventually thrown out. Having no money after being robbed, he agrees to take a position in the kitchen of said restaurant, run by a seasoned Portuguese chef (Antonio Banderas) with a band of misfits as his crew. While Bourdain’s status as a novice is a hindrance at first, he allows himself to be engaged by the company and his passion for cooking. Settling into this unit opens up his appreciation for the artistry that goes into creating these meals, a humbling experience that allows him to slowly disregard his narcissism and embrace a community that values such emotions. It’s an experience that paves the way for the more refined man the world would later come to know.
Given the flamboyant and hectic life Bourdain led, Matt Johnson seems like a unique yet understandable choice as a director. The chaotic energy infused in projects like “BlackBerry” and “Nirvanna the Band the Show the Movie” appears to be an appropriate aesthetic for the material, particularly in attempting to capture the frenzied environment that exists in busy kitchens. However, the tone that Johnson chooses is much more understated. The kitchen portrayed here certainly has its moments of disorganized turmoil, but the camera is not interested in snap zooms or quick pans. Michael Bauman’s cinematography prefers to simmer in this landscape, capturing striking imagery as the haze rolls into the harbor and casts a soft glow around streetlights, illuminating houses with an alluring halo. It’s a far more mellow presentation that fits with the breezier summertime air that lingers throughout. That lackadaisical effort can sometimes lead to an occasionally monotonous pace, and the overall momentum can be slowed during a rather languid character study. Still, a warm and inviting atmosphere is being crafted, creating a suitable entry point into the story.
The structure of this narrative may not follow the complete life span of its subject, but Johnson and his co-writers have still created a pretty familiar outline. The headstrong, selfish egotist who must learn to be humble in his challenging new surroundings doesn’t find himself innovating much within this framework. The mentor figure who enters the protagonist’s life has sage wisdom to dispense, as well as a brief moment of mistrust and abandonment before returning to encourage once again. The love interest has a charming aura but feels like a secondary aspect of this hero’s journey. The other chefs he works with all have big personalities. Still, nothing truly defines their relationship with Bourdain, apart from one used specifically to create a stark contrast to his own toxic personality traits. The storytelling offers an interesting perspective on a young man whose creative ambitions are first expressed in his writing. Cooking is not a passion he takes to, but showcasing the melding of the two yields a more compelling meditation.
A project like this mostly succeeds on the shoulders of its central lead, and Sessa provides a truly engrossing performance. His breakout role in “The Holdovers” was already an impressive demonstration of his captivating screen presence, and he continues to showcase that talent here as well. There’s a cadence to his speech that informs the audience of this real-life figure without ever devolving into a mannered portrayal that loses any sense of humanity. He’s a looming figure but also possesses an amateurish insecurity within the character that never allows him to swerve fully into histrionics. Sessa once again employs an infectious charm that complements the inner turmoil of a young man navigating his own identity crisis. It’s a wonderfully endearing turn by a promising young actor. The chemistry he shares with Jones is sweet, even if the character herself isn’t the most enthralling. Still, she makes for a dynamic presence all the same.
Banderas doesn’t stretch himself terribly in his role, but even a serviceable performance is appealing because of the rugged yet erudite persona he exudes. The only false note here is Leo Woodall, playing a more antagonistic member of the kitchen staff whose relationship with Bourdain is in constant conflict. It’s a broadly villainous turn that struggles to naturally fit within this collection of individuals, making his brutish personality grating. There is intention behind such a decision, but Woodall doesn’t quite capture the energy needed to turn him into a more provocative figure. He’s another actor who has previously demonstrated he can be very effective, as seen in recent film roles like “Nuremberg” and “Tuner,” but this material doesn’t make the best use of his skill set.
Anyone looking to “Tony” for a searing, in-depth exposé of this legendary personality might find themselves slightly disappointed. The story here provides a framework that gives insights into some aspects of his distinct personality. The acerbic tongue that must eventually be tamed to appreciate the more fulfilling passions may be a familiar path trodden. However, the storytelling manages to craft a narrative one can still enjoy. A warm tone drenches every frame, and most of the cast deliver remarkable work, particularly the leading actor. Perhaps later chapters of Bourdain’s life will be dramatized as well, giving us a further peek into a complicated life. The film certainly understands this character’s gravitas, with his name dropped as the last line, as if it’s a superhero finally revealing his alter ego to the public. There are other shades to this interesting man that are not the subject here, but we still get a window into a notable life that would follow.
