{"id":1251,"date":"2026-08-07T19:12:52","date_gmt":"2026-08-07T19:12:52","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=1251"},"modified":"2026-08-07T19:12:52","modified_gmt":"2026-08-07T19:12:52","slug":"tony-late-fame-and-the-rocky-road-to-literary-stardom","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=1251","title":{"rendered":"\u201cTony,\u201d \u201cLate Fame,\u201d and the Rocky Road to Literary Stardom"},"content":{"rendered":"
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I mean it as a strange sort of compliment when I say that, for decent stretches of the new biographical drama \u201cTony,\u201d I came close to forgetting who Tony was\u2014or, more precisely, I forgot about the brash, beloved, outsized, outspoken personality he would become. When we first meet him onscreen, in the spring of 1975, Tony (Dominic Sessa) is a Vassar student, with an unruly mop of hair, a mouth full of pompous put-downs, and a blustery ambition to become a writer. When someone addresses him as Anthony, he waves the name aside, claiming that only his mother calls him that. Through a convoluted chain of events, Tony winds up in Provincetown, Massachusetts, where he spends his summer working at a sloppy seafood joint called the Flagship. The chef (a wonderful Antonio Banderas) rechristens him Flaco, a term of endearment, mostly, that lodges in your brain. Not until the closing scenes do we hear Tony\u2019s full name, Anthony Bourdain, spoken aloud, and for many in the audience the moment will land with a satisfying click<\/em>\u2014the sound of destiny snapping into place. Others, like me, might find themselves jolted back to bio-pic reality: Oh, yeah! That guy.<\/p>\n

Read more The Modern R. & B. of Olivia Dean and Baby Rose<\/a><\/p>\n

How could we forget? Bourdain, the celebrity chef who parlayed the success of his best-selling memoir, \u201cKitchen Confidential\u201d (2000), into an astounding career as a globe-trotting TV host, was often lovingly described as \u201clarger than life.\u201d In the years since his suicide, in 2018, the public\u2019s undimmed affection suggests that he may also be larger than death. He was previously memorialized onscreen in an anguished documentary, \u201cRoadrunner\u201d (2021), that tried to make sense of the exuberant highs and despairing lows of his final years. \u201cTony,\u201d which was directed and co-written by the Canadian filmmaker Matt Johnson, attempts more or less the opposite. Loosely drawn from the Provincetown chapters of \u201cKitchen Confidential,\u201d the film is a narrow, crowd-pleasing slice of a wildly tumultuous life\u2014a portrait of the culinary artist as an endearing, exasperating young fuckup, set during a summer of squid stews and Wellfleet oysters that changes his life.<\/p>\n

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\u201cJaws\u201d is in theatres, and love is in the air. Tony comes to Provincetown in pursuit of his crush, Nancy (Emilia Jones), to whom he lies continually and unconvincingly about his reasons for being there. The Flagship kitchen is basically a fruits de mer<\/em> frat house, where the kitchen workers, none rougher or funnier than Sal (Leo Woodall), are a bunch of misfits, snorting cocaine off one hand and slamming down plates of French fries with the other. The exception is Banderas\u2019s unnamed chef, a pillar of Jesus-loving rectitude who gives Tony a job, lets him sleep on his porch, and awakens him each morning with a splash of sea water\u2014a bracing dose of tough love. If it\u2019s fairly easy to dissociate \u201cTony\u201d from its real-life subject, it\u2019s because the script filters Tony\u2019s experience through a not unpleasant haze of coming-of-age clich\u00e9s: it\u2019s a youthful romance, a goofball gross-out, and a \u201cKarate Kid\u201d fable rolled into one. You might get so caught up in the comedy, familiar beats and all, that you forget you\u2019re watching a bio-pic.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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This is all to the good. As Johnson demonstrated in \u201cBlackBerry\u201d (2023), his engrossing drama about the success and failure of the once popular smartphone, he has a knack for spinning real-life events into counterintuitive entertainment. Far too many bio-pics are mere exercises in slobbering idol worship, and most of them are made and marketed on the strength of a physical resemblance between star and subject. Refreshingly, the degree to which Dominic Sessa looks like the young Bourdain\u2014and, specifically, Bourdain before his face was famous\u2014feels piddlingly insignificant here. Watching Sessa, a lean, gangly twentysomething with a viciously compelling scowl, I was reminded less of Bourdain than of Sessa\u2019s own breakthrough role in \u201cThe Holdovers\u201d (2023), in which he played another smart, angry, insecure teen-age malcontent who gets stranded during a seasonal holiday and finds an improbable mentor.<\/p>\n

Tony, though, has his own unique set of issues. He\u2019s a sloppy drunk, an angry blowhard, and a bit of a klutz, which isn\u2019t ideal in a job where cuts and burns are everyday hazards. But, beneath his comic belligerence, he has a vulnerability that keeps his swagger in check. There\u2019s an early scene in the film, before Tony decamps for Provincetown, in which he lies to his parents about having won a summer writing fellowship. Tony\u2019s braggadocio is only skin deep; watch the shame that clouds his face when his mother, Gladys Bourdain (a coolly incisive Dagmara Dominczyk), corrects his pronunciation of the word \u201cbildungsroman.\u201d (Gladys, a Times<\/em> copy editor, knew her business; she also proved instrumental in getting \u201cDon\u2019t Eat Before Reading This,\u201d her son\u2019s juicy first essay about the restaurant industry, published in The New Yorker<\/em>, in 1999.)<\/p>\n

This Tony, the future bad-boy tell-all insider of the culinary world, is still touchingly unformed\u2014a mortar full of raw, pasty potential, crying out for life experience to pestle him into shape. But what, exactly, will he be ground into\u2014a chef or a scribe? \u201cI\u2019m a writer,\u201d Tony keeps telling people; it\u2019s the identity he\u2019s long clung to, and the only one that gives his shambles of a life meaning. We never see him do any actual writing in the film, and that\u2019s more than O.K.; the last thing we need is another hackneyed spectacle of a young literary genius hunched over his typewriter. What we do see Tony do is cook\u2014shucking oysters, shredding potatoes, and, on a fateful Friday night, plating a lobster thermidor for the girl of his dreams. The kitchen montages are formulaic yet revelatory; Tony loves food, it turns out, as much as he loves words, and Johnson\u2019s film commits to the belief that a writer is ultimately nothing without a subject. Amid the squalor and chaos of a Provincetown kitchen, Anthony Bourdain found his\u2014and Tony did, too.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Bourdain was in his forties when \u201cKitchen Confidential\u201d was published, and \u201cTony\u201d ends with that career-igniting milestone still decades away. \u201cLate Fame,\u201d an exquisitely wry and melancholic new drama from the director Kent Jones, approaches the puzzle of a writer\u2019s life and art from the opposite direction. Ed Saxberger (Willem Dafoe), a rumpled-looking Manhattanite in his late sixties or early seventies, was a young man when he wrote a slender volume of poetry titled \u201cWay Past Go\u201d; it was published, in 1979, to some acclaim, including a rave in the Village Voice<\/em>. Nearly fifty years later, Saxberger\u2019s early burst of literary promise is long forgotten, as are the poems themselves. He works at a post office, a job he\u2019s held for thirty-seven years. Age and alcohol have taken a toll; he\u2019s several years sober but still hangs out at a bar with his buddies, none of whom know about his literary past.<\/p>\n

Read more Are Psychedelics Right-Wing Now?<\/a><\/p>\n

One chilly day, that past comes rushing back. Saxberger is greeted outside his apartment building by Wilson Meyers (Edmund Donovan), an impassioned young admirer who considers \u201cWay Past Go\u201d a masterpiece: \u201cIt\u2019s as if the poems were written yesterday,\u201d he declares. Dafoe, a master of expressive restraint, turns even this first encounter into a small triumph of barely suppressed feeling. A crinkly smile steals across Saxberger\u2019s careworn face, but it\u2019s chased away by genuine shock (\u201cIs this some kind of joke?\u201d he wonders aloud) and more than a hint of skepticism. He\u2019s right to be suspicious. Meyers, an almost parodic vision of an old soul, gushes praise in unfashionably complete sentences. He begs Saxberger to meet with him and his friends\u2014a motley group of writers, artists, critics, and intellectuals, all apparently just as besotted with \u201cWay Past Go\u201d as he is. But Donovan shows us the calculation, verging on disingenuousness, beneath Meyers\u2019s lofty, earnest veneer. Here is a man who believes fervently in his own flattery but also wields it like a weapon.<\/p>\n

After some initial reluctance, Saxberger finds himself in a Greenwich Village coffee shop where Meyers and his group regularly hang out. They call themselves the Enthusiasm Society, a name that captures their unironic spirit of cultural advocacy and their instinctive rejection of snark. They extend that enthusiasm to Saxberger immediately, welcoming him into the group and, before long, inviting him to serve as the marquee name for an upcoming event devoted to readings of their work. But, after the initial intoxication of niche celebrity, Saxberger finds himself disadvantaged and disoriented on multiple fronts. He is no longer the vigorous young poet who took inspiration from, and briefly rubbed elbows with, the New American Poetry pioneers of the nineteen-forties and fifties: Robert Creeley, Amiri Baraka, Ed Dorn. Decades out of practice, Saxberger is assailed by writer\u2019s block and confused by the machinations of a modern-day publishing industry that wants to turn his rediscovery into a branding exercise. He also finds himself at odds with his bar buddies, who, in one lacerating scene, respond to Saxberger\u2019s self-disclosure with mocking, philistine incuriosity.<\/p>\n

\u201cLate Fame\u201d has its roots in an 1895 novella, by the Viennese writer Arthur Schnitzler, that was, itself, the object of overdue discovery: unpublished during the author\u2019s lifetime, it didn\u2019t appear until 2014. (An English translation came out in 2017.) It was adapted for the screen by Samy Burch, who previously wrote \u201cMay December\u201d (2023), Todd Haynes\u2019s slippery comic melodrama about the cinematic exploitation of an old tabloid scandal. The circumstances of \u201cLate Fame\u201d may be less outwardly fraught, but here, as in the earlier film, Burch fleshes out the awkward dynamics of an ill-advised collaboration, in which superficial pleasantries hide the petty motives and desires of all involved. And, despite a shift from nineteenth-century Vienna to present-day New York, she has left the bones of the original story largely intact. This portrait of wannabe bohemians and intellectuals who adopt the fashions, mannerisms, and artistic practices of an earlier time has its own essential timelessness.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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As in the novella, the society has a lone female member in its ranks, an actress and singer named Gloria (Greta Lee, of the romantic drama \u201cPast Lives\u201d). A woman of flamboyantly seductive gestures, Gloria dazzles Saxberger with her puckish wit, come-hither smile, and unfeigned, vibrant talent\u2014at one point, she delivers a fiery rendition of the 1929 Brecht-Weill standard \u201cSurabaya Johnny\u201d\u2014only to stand revealed, in the final stretch, as a tragically elusive object of desire. But hers is not the only mask to come off. Jones, who wrote and directed the realist drama \u201cDiane\u201d (2019), has made a satire with a surfeit of soul; he turns even the revelation of his characters\u2019 foibles and pretensions into an act of tenderness. Meyers turns out to be a rich kid with a fancy apartment, someone who can afford to play the artistic revolutionary\u2014which doesn\u2019t negate, and may indeed validate, his love for art.<\/p>\n

The only figure who remains transparently, unchangeably himself is Saxberger, who, even as he enjoys his brush with literary celebrity, finds a deeper liberation in his limitations. He cannot churn out fresh verse on someone else\u2019s deadline; nor can he pretend to be the critical authority, the endlessly encouraging mentor and sounding board, that his society friends so desperately need him to be. The poetry of this movie, in short, is in Dafoe, who gives his finest performance in years\u2014a long trek from bliss to despair to disillusionment, and finally to the odd contentment and consolation that disillusionment often brings.\u00a0\u2666<\/p>\n

Read more Can Extreme Morning Sickness Be Cured?<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Justin Chang reviews Matt Johnson\u2019s bio-pic \u201cTony,\u201d starring Dominic Sessa and Antonio Banderas, and Kent Jones\u2019s drama \u201cLate Fame,\u201d with Willem Dafoe and Greta Lee.<\/p>\n","protected":false},"author":1,"featured_media":1250,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-1251","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-current-cinema"],"yoast_head":"\n\u201cTony,\u201d \u201cLate Fame,\u201d and the Rocky Road to Literary Stardom - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=1251\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cTony,\u201d \u201cLate Fame,\u201d and the Rocky Road to Literary Stardom - 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