“Tony” movie poster

Tony: Movie Review

By Leo Racicot

I can’t say I ever had much of an interest in author, world traveler, culinary supernova, Anthony Bourdain. His Kitchen Confidential thug demeanor was a turn-off. Though he hit the nail on-the-head with his portrayal of how crude, rude and crass kitchen workers can be (I’ve worked in busy food prep kitchens and can attest to his characterization of them), I couldn’t relate to them personally and couldn’t relate to Bourdain.

No, I was eager to see the new movie, Tony, a biopic about Bourdain’s early years working in a rowdy Provincetown restaurant galley, for one reason only; to see the latest work of Dominic Sessa, who was so very good in The Holdovers a couple of years back. His performance in that now well-established holiday favorite is one I’ve watched over-and-over again, even outside of the Christmas season. That Sessa was plucked out of a group of other unknowns by director Alexander Payne from his fellow Deerfield Academy acting classmates to play conflicted student Angus Tully is a testament to the raw, untested power of his acting skills. In The Holdovers Sessa more than holds his own against the accomplished veteran actor, Paul Giamatti. At the time, I wondered if Sessa was a mere flash-in-the- pan, if his successful star-making turn as Angus would carry over to new projects. Plus, Tony, being about cooking and food, did draw me to the box office where I witnessed Sessa once again bringing his considerable skills, his soulful eyes, his dark curly mop of hair with its appealing 1970s retro vibe, his lanky frame to recreate the young, fiery, just-setting-out-to-find-himself Anthony Bourdain. I find there’s an early Al Pacino quality about Sessa. Like Pacino, he can appear calm, pensive then all-of-a-sudden explode in a fiery burst of flame. He more than does right by Bourdain playing the young chef-to-be as a confused, searching wiseass punk whose M.O, at least when he’s starting out on his life’s journey, is to lie, lie, lie to everyone about everything. Sessa, who was so brilliant portraying adolescent angst in The Holdovers here ignites the screen with the same kind of intensity. I like his young Bourdain more than I liked the real Bourdain which is saying a lot about the skill Sessa brings to his scenes, his intensity countered with an appealing vulnerability brings genuine power to the story. Industry predictors are already talking Oscar buzz for this performance.

Adding to the film’s appeal is the always watchable Antonio Banderas. A perennially likeable actor, he brings a soulful, caring vibe to the role of the chef who takes a lost, homeless Tony into his home and into his restaurant, mentoring him in the ways of kitchen work. The way he wakes Tony up early each morning so Tony can make it on time to work is hilarious. I have to say though, and have been saying this for years, that usually I have little to no idea what the heavily-accented Banderas is saying. When he first burst on movie screens in the 1980s in several of Spanish director Pedro Almodovar’s films, all audiences had to contend with was subtitles.

Newcomer Leo Woodall made me sit up in my seat. I’d heard his name bandied about in various projects but had never seen him in any of them. He’s a very fine actor, nearly steals the movie in every scene he’s in, playing Tony’s chaotic line cook friend, Sal, a rowdy who introduces Tony to the wild side of Provincetown summer life: sex, brawls, drugs. When his character leaves the story mid-way, he is missed. I kept wishing he’d return. I won’t be surprised if he, too, is nominated for recognition come awards time. I’ve since caught up with other of his performances in Prime Target & Tuner, a heist thriller with Dustin Hoffman, and he is very, very good. I hear the James Bond franchise is keeping its eye on him to play the next 007.

Tony. A satisfying afternoon at the movies. A second coup for Dominic Sessa who we’re sure to be seeing more of in the years ahead.