
MOFAD celebrates historic Delmonico’s restaurant with a special program on September 24
MOFAD Lab
62 Bayard St., Brooklyn
Thursday, September 19, $125, 7:00
718-387-2845
www.mofad.org
We have a special affection for Delmonico’s; we got married there and have been back for several milestone anniversaries. Opened in 1837 by the Delmonico brothers, purveyors of fine coffee, chocolate, liquor, and cigars, the historic New York City eatery at the corner of Beaver and William Sts. gained fame for its Delmonico steak and the invention of eggs Benedict, baked Alaska, lobster Newburg, the wedge salad, and chicken a la Keene as well as for its chic and powerful clientele, from celebrities to politicians, including Jenny Lind, Mark Twain, and Lillian Russell to Theodore Roosevelt, Jacob A. Riis, and Nikola Tesla. In what may have been the first restaurant review in the New York Times, on January 1, 1859, an unnamed critic wrote, “Once let Delmonico have your order, and you are safe. You may repose in peace up to the very moment when you sit down with your guests. No nobleman of England — no Marquis of the ancienne nobless — was ever better served or waited on in greater style that you will be in a private room at Delmonico’s. The lights will be brilliant, the waiters will be curled and perfumed and gloved, the dishes will be strictly en règle and the wines will come with precision of clock-work that has been duly wound up. If you ‘pay your money like a gentleman,’ you will be fed like a gentleman, and no mistake.”
On September 24, the Museum of Food and Drink is celebrating the first fine-dining establishment in the nation with its latest DinnerLab presentation, “Delmonico’s — Restaurant History Remixed.” The program is being held at the MOFAD Lab on Bayard St. in Brooklyn and is hosted by radio personality, lifestyle expert, motivational speaker, and author Max Tucci, the grandson of Oscar Tucci, who owned Delmonico’s from 1926 to 1987. Executive chef Billy Oliva, MOFAD executive chef Eric Kwan, and mixologist and cocktail historian David Wondrich will offer tastings and drinks, including samplings of chicken a la Keene chip & dip, crispy eggs Benedict, XO oysters Jim Brady, “Ladies Only” Newberg iceberg, and iced Alaska Kakigōri; there will also be old photographs, menus, and other rare items on view. Fortunately, you won’t have to be as careful as diners were advised back in the day, as the NYT critic also noted, “If you make the ordinary mistakes of a untraveled man, and call for dishes in unusual progression, the waiter will perhaps sneer almost imperceptibly, but he will go no further, if you don’t try his feelings too harshly, or put your knife into your mouth.”

“I’m writing as a form of activism,” Joel Francois says in Max Powers’s Don’t Be Nice, an intense and inspiring fly-on-the-wall documentary that follows the Bowery Slam poetry team over nine weeks as it prepares for the national finals in Atlanta. Representing Bowery Poetry Club, Francois, Ashley August, Noel Quiñones, Timothy DuWhite, and Sean MEGA DesVignes, are in it to win it, led by coaches Lauren Whitehead and Jon Sands, who work hard to get the most out of each of them. Sands is more of a cheerleader as Whitehead pressures the multiracial poets to reach deep within themselves to get to the root of who they are as they write about their often tenuous place in a dangerous and difficult world, sharing thoughts and feelings from their core. Filmed in the summer of 2016, Don’t Be Nice explores issues of race, class, sexual orientation, physical and emotional abuse, violence, and gender without apology as the members of the team bare their souls, particularly relating to racial injustice and the whitewashing of black culture as a stunning number of black men are killed by white police officers that year.



Peter Sarsgaard gives a beautifully gentle performance as a house tuner in Michael Tyburski’s feature debut, The Sound of Silence. Sarsgaard is Peter Lucian, an idiosyncratic New Yorker who is hired by people to investigate how sounds in their homes might be affecting them in negative ways, impacting their sleeping habits, success at work, and overall mood. Walking from room to room with tuning forks and a tape recorder, Peter tracks seemingly impossible-to-hear noise and suggests alterations that will change his clients’ lives, sometimes as simple as replacing a small appliance. He is also mapping the city itself, documenting buildings and street corners by the musical notes they emit. At the urging of his mentor, Robert Feinway (Austin Pendleton), he hires Samuel Diaz (Tony Revolori) to assist him as he prepares to publish his findings, something he prefers to do alone. Meanwhile, CEO Harold Carlyle (Bruce Altman) wants Peter to join his firm and turn his unique skill into a big-time money-making venture, but Peter has no interest in corrupting his unusual profession. When he hits a snag trying to solve the problems of his latest client, Ellen Chasen (Rashida Jones), he becomes obsessed, desperate to find the answer as his calm, even-keeled life suddenly becomes turbulent and disorderly.

Earlier this year, Larry Fessenden’s Depraved made its world premiere at IFC Center as the opening-night selection of What the Fest!?, five days of twisted films and discussions that pushed the boundaries of the horror genre. Depraved, which does just that, is now back at IFC for its inaugural theatrical release. “Humanity does so love destruction. Depraved. That’s what we are. Utterly depraved,” Polidori (Joshua Leonard) explains in the film, a contemporary reimagining of Frankenstein and The Bride of Frankenstein involving the military, Big Pharma, and fatherhood. The smooth-talking Polidori (named for John William Polidori, an acquaintance of Mary Wollstonecraft’s who in 1819 published the first modern vampire story) is overseeing a cutting-edge experiment by Henry (David Call), who is seeking to bring life to the dead through surgery, medication, and therapy. (Dr. Frankenstein was named “Victor” in Mary Shelley’s book but “Henry” in James Whale’s 1931 movie.) Using body parts from multiple corpses, Henry, a former army medic in Iraq, has patched together a living being he names Adam (Alex Breaux). The final, key piece is the warm brain of Alex (Owen Campbell), who is brutally murdered moments after having a fight with his girlfriend, Lucy (Chloë Levine), in Brooklyn. Adam develops sooner than expected, taking a liking to Henry’s girlfriend, Liz (Ana Kayne), while Polidori uses this as an opportunity to speed up the deals he’s working on. It doesn’t go very well.

