Tony

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Brent Marchant6/10

Stories about challenged individuals who manage to turn their lives around are immensely popular with moviegoing audiences. But there’s a big difference between those that depict individuals who beat the odds against them and those featuring characters who have to dig themselves out of their own self-created holes (and it should be easy to guess which ones are more well-liked). Such latter circumstances are the ones in play in this biographical comedy-drama from writer-director Matt Johnson, an origin story about how celebrity chef and culinary travelogue host Anthony Bourdain (1956-2018) got his start. In 1975, Bourdain (who curtly and routinely informed others that he simply wanted to be called “Tony”) (Dominic Sessa) was enrolled at Vassar College in one of the first classes to which men had been admitted to the former all-women’s institution. He was seeking (with brazenly conceited confidence and no credible experience) a writing fellowship that would allow him avoid going home for the summer, a prospect he viewed with palpable disdain. However, when he was turned down for the opportunity, he needed to find a different path. He decided to head to the coastal resort town of Provincetown, MA to pursue his romantic interest (or, more accurately, romantic obsession) from high school, currently a Vassar co-ed, Nancy Putkoski (Emilia Jones), who was spending the summer on Cape Cod. Tony told others that he was making the journey to work on the fellowship he didn’t win as a cover for his pursuit of a relationship with someone who typically responded to his advances with ambivalence. These conditions ostensibly forced him to wing it in every conceivable way upon arrival in P-town. And, as fate would have it, the “aspiring writer” was the same loutish narcissist there that he was beforehand. After a series of questionable misadventures, he sheepishly ended up taking a job as a dishwasher in a restaurant run by a demanding taskmaster chef (Antonio Banderas) staffed by an array of colorful co-workers (Leo Woodall, Stavros Halkias) who were anything but positive influences. But, as Tony’s summer unfolded, he unwittingly began turning things around, largely thanks to the chef’s stringent tutelage, launching Tony down another new path that would lead him to a storied future. Bourdain’s subsequent success is not depicted here except in the film’s electronic epilogue, but it’s that implication that arguably grants this story its salvation in light of how it starts out. The protagonist is clearly depicted as an admittedly charismatic (though undeniably uncouth) bad boy who probably wouldn’t have otherwise been cut any slack were it not for his accomplishments later in life. Fittingly, Sessa capably makes the most of that characterization, turning in a badass portrayal and a remarkably on-point impersonation of the title character, even if it’s written rather monodimensionally and delivered through an uncannily familiar performance to the actor’s role in “The Holdovers” (2023) (which, unavoidably, raises potential questions about typecasting). It also doesn’t help that Tony’s back story is largely missing, with virtually no explanation behind his motivations, behavior and attitude at this time of his life other than through an epigraphic quote from Bourdain at the film’s outset. And this oversight, for what it’s worth, may leave viewers wondering why they should care about what happens to him. Those considerations aside, though, the picture has definite strengths of note, particularly the impressive supporting cast of Banderas, Woodall and Halkias, who do much to bolster viewer interest in the narrative. The film’s superb period piece production design and fine cinematography also add much to the picture, particularly the character of this release’s time frame. Overall, though, “Tony” feels as though it could have been stronger, better focused and more engaging. It’s modestly entertaining, but, in coming away from it, I felt as though I was only served appetizers and missed out on the main course.

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