
The intersection of film and food is an inevitable topic for anyone absorbed by both. Who can forget the succulent indecencies of Tom and Sophie's famous meal in Tony Richardson's TOM JONES or the redemptive rituals of the table in BABETTE'S FEAST? Searching my own memory and with input from a host of Saucyfriends, the quest for cold cut moments in cinema yielded a bevy of unanticipated results.
THE FLIM-FLAM MAN (1967) is a little seen comic gem starring a mephistopholian George C. Scott and introducing Michael Sarrizan. Just after their first caper, Mordechai (Scott) reclines with a pint of whiskey and Curley begins to construct a herculean sandwich from chubs and hunks of cold cuts laid out on his mentor's suitcase. He squeezes a globe of braunswieger from its casing onto a slice of white bread and slathers it with mayonnaise. He follows this with an inch thick piece of baloney which he paints with mustard. The scene is beautifully played. Curley's manner is both ritualistic and reverential, conveying his youthful absorption and anticipation. One great bite into the sandwich, Mordechai hears the rubes they had earlier cheated at cards, grabs his suitcase and dumps the food. Curley's disbelief is just momentary. He snaps up an unopened log of salami and escapes with the old man. As they run down the railroad tracks, the Mordechai begins to lag behind and Curley saves day, wielding the salami like a club. Later, safely tucked away in an abandoned shack, the exhausted Mordechai falls asleep using the salami as his pillow. The sequence ends with Curley carefully extricating his treasure and, pocket knife in hand, resuming his meal. Curley, a young man who is both an orphan and a deserter, has scored. He can have his cold cuts and, finally, eat them as well. It is rather uncanny how in saving this portion of his ill-gotten gains, he preserves, even elevates his sense of self.
Images of cold cuts in cinema have a complex life in matters of personal status, class and ethnicity. In GOODFELLAS, one of the duties the youthful Jimmy is entrusted with is making sandwiches the way the guys like them and, in a later scene, Pauly greets the arrival of salami in prison with the same enthusiasm as the box of lobsters. They can get anything they want, in or out of prison, but their palates never leave the neighborhood. The young Vito, in GODFATHER II, is savoring a plate of salami and pickles in the deli where he works when the local don walks in and he is forced out of his job. It is a subtle tipping point. Vito murders the don and the reign of the Corleones begins. If salami is taken away from his family, the Family will own the salami.
There is a poignant and extended scene when young Athos, on a quest to understand the father he never knew, meets with his father's old friend Gaibazzi in Bertolucci's SPIDER'S STRATAGEM. Gaibazzi is tasting pig rump salami- hundreds, seemingly, are hanging from the rafters- and Athos is home. Food plays out in this film as Athos unravels the complications of Fascism and his past. That other great Italian, Antonioni, uses a cold cut moment in ZABRISKIE POINT as a counterpoint to the free-wheeling, communal sensibility of the film when the cop-killing anarchist idealist Mark tries (and fails) to score a free Italian cold cut sub while he is on the lam. No dice. Paying customers are already grousing that there is not enough meat on the sandwich. You want more, you pay.
In another key, George Bush's affection for baloney accounts for a very funny exchange in Oliver Stone's brilliant W and Josh Brolin is brilliant. Bush is getting debriefed on the anthrax threat as he enjoys a presidential lunch: baloney and lettuce on white bread. One of the ways, he is told, that anthrax can be spread is through food, like the lettuce on his sandwich. And W cannot bring himself to let go of that sandwich. He takes a bite, repeatedly looks at it, fidgets with it, tugs at the lettuce. Enveloped in struggle, his lunch is ruined by images of plague and this wayward child of privilege abandons his lunch.
Cold cuts, it appears, are even associated with matters of the heart. The president's look-a-like in DAVE woos the president's wife with a a little shop's signature submarine sandwich during a moonlit picnic. In COALMINER'S DAUGHTER, just when cold cuts seem lose their allure and Loretta Lynn slaps a piece of baloney down, complaining that she sick and tired of stuff, Doolittle answers,"You know what they say about baloney, don't you?" "No, what?" "It makes you horny." In BAD SANTA, a debauched and alienated Billy Bob Thornton turns a corner and expresses his affection, in a manner of speaking, for the little kid whose house he has invaded by preparing his signature dish: a fried baloney tostada. Frying baloney, he tells the kid in a lucid moment, make it taste like a hot dog.
And cold cuts get creepy, really, really creepy, in Lodge Kerrigan's terrifying CLEAN, SHAVEN. Peter, schizophrenic and a suspected child serial killer, returns to his mother's house. She asks him if he is hungry, he says 'no" and she pulls out the sandwich fixings. We start to understand why Peter is so crazy. Peter enacts his tortured script, pulling the plastic wrap off of the baloney, slicing a tomato like he is butchering a cow. It's not happening in slow time, just very slowly, punctuated with staccato moments of frustration and rage. The sound track amplifies every moment; we inhabit Peter's paranoid delusions, every horrifying moment. And that sandwich never makes it to the plate.
Charles Seluzicki