Richard Shepard’s directorial debut The Linguini Incident is the kind of unique NYC film that used to be all the rage in the 80s and 90s that all but evaporated now. Part con film, part rom-com, all New York energy and vibes.
Lucy (Rosanna Arquette) is a full-time waitress, a part-time Houdini-inspired box girl with dreams of fame and fortune. Monte (David Bowie) is a bartender with dreams of marriage and a green card. Together with Lucy’s BFF Vivian (Eszter Balint) and would-be lingerie designer scheme to rob the restaurant they work at. As things go awry and the restaurant owners (Andre Greggory and Buck Henry) are now successful because of the robbery the trio run a risky gambit and a chance for not just fame but love.
The Linguini Incident is a bit of a shabby charming mess. Going from wild plot thread and side tangential conversational scene with no real connection to a plot other than the characters until the end. That somehow, at least partially, wraps everything up with a bow. The film works off the ample charm of Bowie, Arquette, and the host of young (soon-to-be-famous) faces. The script co-written by Shepard and Tamar Brott is a sly dialog-driven witty affair that was made before the post-Tarantino afterglow. Which makes it thankfully less influenced by pop culture or the wrong lessons learned from Tarantino.
The film does find its own unique story and plotting though much of it makes no sense unless you’re within the confines of some sort of NYC fairy tale. In that respect, the film is a witty affair that gives Bowie the charming weirdo that he is in his best acting roles. Adding Arquette to play off of the film succeeds, for the most part, as what Shepard intended a NYC romance with a bit of magical realism.
The Transfer
The High Definition (1080p) presentation of the director’s cut in 1.78:1 struck from a brand new 4K transfer from film interpositive is a minor miracle. One needs to only look at the SD version of the original theatrical cut to see the difference in quality. The film looks night and day different with all the subtle beauty of the 35mm origins of the film back in this new Blu-ray edition. The transfer is a wonderfully colorful affair with well-balanced contrast levels. Nary a scratch or defect is present through the runtime of the feature. Bravo to MVD Entertainment for a truly wonderful transfer.
The Extras
They include the following;
Introduction by Director Richard Shepard
Commentary with Director Richard Shepard, actors Rosanna Arquette and Eszter Balint, co-producer Sarah Jackson, and co-screenwriter Tamar Brott, moderated by “Cereal at Midnight” host Heath Holland
Commentary by Director Richard Shepard
“The Making of The Linguini Incident” – Full-length documentary
Photo Gallery with commentary by Richard Shepard
The Linguini Incident – Original Theatrical Version
Presented in Standard Definition.
2024 Theatrical Trailer
Original Theatrical Trailer
Introduction by Director Richard Shepard (2:26) – the brief introduction about how the director’s cut came to be because the theatrical cut wasn’t his cut of the film and more. Note: the intro can be played outside the film from the Bonus Menu or played before the main feature.
The first of two Commentaries by Director Richard Shepard which opens with this is his director’s cut – and the tightening of the opening. Some of the other details include by his own admission that he felt that most of the issues with the original cut was on him (not in the editing but the filming); the casting of Marlee Matlin; the production schedule; the budget troubles that they had including the budget they were supposed to have and the actual real budget; how he came to write and direct the film – including help by Roman Coppola; the casting what-if’s before Rosanna Arquette; Shelly Winters almost cast in a role and the blow up around the casting; the casting what-if’s of the restaurant owners before Buck Henry and Andre Greggory; the casting of David Bowie – initially as the restaurant owner but shifting to the co-lead; the hiring and work of cinematographer Robert Yeoman; the score of Thomas Newman; the post-production issues that happened – how that related to the new director’s cut; the sale of the film – the recutting of the film that eventually was the US cut of the film; the eventual release of the film – what happened to them during the release, including the reviews – that the same time of the LA Riots in 1992; the personal fallout after the failure of the film; the second part of his career which eventually led to making this director’s cut – and how that this occurred; a larger discussion through out of the production woes and the lack of money or money not being there when they needed; a larger discussion of the production’s location – both in Los Angeles and New York City, including how it changed in the last thirty years; a larger discussion of the various cuts and edits made between the theatrical and new director’s cut – including discussion of tone, speed, and character change with his cut; and much more. Shepard’s commentary track is phenomenal with the director being honest about his shortcomings as a director and the issues that plagued the production. A truly great commentary track that’s honest and informative.
The second Commentary is with Director Richard Shepard, actors Rosanna Arquette and Eszter Balint, co-producer Sarah Jackson, and co-screenwriter Tamar Brott, moderated by “Cereal at Midnight” host Heath Holland. The commentary track opens with Holland discussing with the participants the new version. Some of the other details include how co-producer Sarah Jackson got the script and began to develop and produce the picture including her entryway to David Bowie; Arquette and why she wanted to be in the film and her story of being cast; a rejection letter that Buck Henry sent to them; Balint’s story of how she came to be cast in the film; Arquette and Balint’s friendship on set – discussion of their time on set; the Shelly Winters situation discussed more; the work of David Bowie – including some nice anecdotes; the various different famous people that showed up on set; a discussion throughout the various actors they worked with on the production – including anecdotes good and bad; and much more. This group commentary isn’t as terrible as many of similar ilk can be with too many talking at the same time and becoming a jumbled mess or lack of information from the participants. Additionally, there is little crossover from Shepard’s lone commentary track.
“The Making of The Linguini Incident” (1:44:26) – the all-new feature-length making-of documentary on the making of this film is a wonderful special feature that harkens back to the old school days of lushly produced DVD-era extra content. The documentary covers every aspect of the making of the film from inception to pre-production to the production and post-production to the release of the film. Each part of the production is covered with wonderful attention to detail and personal anecdotes that elevate this to a truly entertaining and informative documentary. There is a bit of crossover between the two commentaries but the added behind-the-scenes footage, photos, and additional archival video they use makes this all the more compelling of a watch. Featuring interviews with Richard Shepard, Tamar Brott, Rosanna Arquette, Eszter Balint Marlee Matlin, Sarah Jackson, Marcia Hinds & Richard von Ernst.
Photo Gallery with commentary by Richard Shepard (5:55) – a micro commentary is included by Shepard as the pictures play. Shepard is both informative and very entertaining as he discusses these various behind-the-scenes pictures and some truly wonderful recollections about Bowie both on and off set.
The Linguini Incident – Original Theatrical Version (1:38:22) – one can see why Shepard wanted so badly to recut and reshape this film from its original theatrical form. It isn’t a drastically different film, but it lacks punch and the unique flair that the director’s cut (which is shorter by around 5 minutes) has. Presented in Standard Definition.
2024 Theatrical Trailer (1:42)
Original Theatrical Trailer (2:18)
The Final Thought
The Linguini Incident in its true director’s cut is the reason for celebration, a huge discovery for Bowie fans. MVD Entertainment has delivered a truly wonderful edition for a truly wonderful film (in its director’s cut form). Highest possible recommendations.
David Bowie and Roseanna Arquette star in the unique indie rom-com The Linguini Incident. MVD Entertainment presents the newly restored Director’s Cut for the first time on Blu-ray.
The Film
Richard Shepard’s directorial debut The Linguini Incident is the kind of unique NYC film that used to be all the rage in the 80s and 90s that all but evaporated now. Part con film, part rom-com, all New York energy and vibes.
Lucy (Rosanna Arquette) is a full-time waitress, a part-time Houdini-inspired box girl with dreams of fame and fortune. Monte (David Bowie) is a bartender with dreams of marriage and a green card. Together with Lucy’s BFF Vivian (Eszter Balint) and would-be lingerie designer scheme to rob the restaurant they work at. As things go awry and the restaurant owners (Andre Greggory and Buck Henry) are now successful because of the robbery the trio run a risky gambit and a chance for not just fame but love.
The Linguini Incident is a bit of a shabby charming mess. Going from wild plot thread and side tangential conversational scene with no real connection to a plot other than the characters until the end. That somehow, at least partially, wraps everything up with a bow. The film works off the ample charm of Bowie, Arquette, and the host of young (soon-to-be-famous) faces. The script co-written by Shepard and Tamar Brott is a sly dialog-driven witty affair that was made before the post-Tarantino afterglow. Which makes it thankfully less influenced by pop culture or the wrong lessons learned from Tarantino.
The film does find its own unique story and plotting though much of it makes no sense unless you’re within the confines of some sort of NYC fairy tale. In that respect, the film is a witty affair that gives Bowie the charming weirdo that he is in his best acting roles. Adding Arquette to play off of the film succeeds, for the most part, as what Shepard intended a NYC romance with a bit of magical realism.
The Transfer
The High Definition (1080p) presentation of the director’s cut in 1.78:1 struck from a brand new 4K transfer from film interpositive is a minor miracle. One needs to only look at the SD version of the original theatrical cut to see the difference in quality. The film looks night and day different with all the subtle beauty of the 35mm origins of the film back in this new Blu-ray edition. The transfer is a wonderfully colorful affair with well-balanced contrast levels. Nary a scratch or defect is present through the runtime of the feature. Bravo to MVD Entertainment for a truly wonderful transfer.
The Extras
They include the following;
Introduction by Director Richard Shepard (2:26) – the brief introduction about how the director’s cut came to be because the theatrical cut wasn’t his cut of the film and more. Note: the intro can be played outside the film from the Bonus Menu or played before the main feature.
The first of two Commentaries by Director Richard Shepard which opens with this is his director’s cut – and the tightening of the opening. Some of the other details include by his own admission that he felt that most of the issues with the original cut was on him (not in the editing but the filming); the casting of Marlee Matlin; the production schedule; the budget troubles that they had including the budget they were supposed to have and the actual real budget; how he came to write and direct the film – including help by Roman Coppola; the casting what-if’s before Rosanna Arquette; Shelly Winters almost cast in a role and the blow up around the casting; the casting what-if’s of the restaurant owners before Buck Henry and Andre Greggory; the casting of David Bowie – initially as the restaurant owner but shifting to the co-lead; the hiring and work of cinematographer Robert Yeoman; the score of Thomas Newman; the post-production issues that happened – how that related to the new director’s cut; the sale of the film – the recutting of the film that eventually was the US cut of the film; the eventual release of the film – what happened to them during the release, including the reviews – that the same time of the LA Riots in 1992; the personal fallout after the failure of the film; the second part of his career which eventually led to making this director’s cut – and how that this occurred; a larger discussion through out of the production woes and the lack of money or money not being there when they needed; a larger discussion of the production’s location – both in Los Angeles and New York City, including how it changed in the last thirty years; a larger discussion of the various cuts and edits made between the theatrical and new director’s cut – including discussion of tone, speed, and character change with his cut; and much more. Shepard’s commentary track is phenomenal with the director being honest about his shortcomings as a director and the issues that plagued the production. A truly great commentary track that’s honest and informative.
The second Commentary is with Director Richard Shepard, actors Rosanna Arquette and Eszter Balint, co-producer Sarah Jackson, and co-screenwriter Tamar Brott, moderated by “Cereal at Midnight” host Heath Holland. The commentary track opens with Holland discussing with the participants the new version. Some of the other details include how co-producer Sarah Jackson got the script and began to develop and produce the picture including her entryway to David Bowie; Arquette and why she wanted to be in the film and her story of being cast; a rejection letter that Buck Henry sent to them; Balint’s story of how she came to be cast in the film; Arquette and Balint’s friendship on set – discussion of their time on set; the Shelly Winters situation discussed more; the work of David Bowie – including some nice anecdotes; the various different famous people that showed up on set; a discussion throughout the various actors they worked with on the production – including anecdotes good and bad; and much more. This group commentary isn’t as terrible as many of similar ilk can be with too many talking at the same time and becoming a jumbled mess or lack of information from the participants. Additionally, there is little crossover from Shepard’s lone commentary track.
“The Making of The Linguini Incident” (1:44:26) – the all-new feature-length making-of documentary on the making of this film is a wonderful special feature that harkens back to the old school days of lushly produced DVD-era extra content. The documentary covers every aspect of the making of the film from inception to pre-production to the production and post-production to the release of the film. Each part of the production is covered with wonderful attention to detail and personal anecdotes that elevate this to a truly entertaining and informative documentary. There is a bit of crossover between the two commentaries but the added behind-the-scenes footage, photos, and additional archival video they use makes this all the more compelling of a watch. Featuring interviews with Richard Shepard, Tamar Brott, Rosanna Arquette, Eszter Balint Marlee Matlin, Sarah Jackson, Marcia Hinds & Richard von Ernst.
Photo Gallery with commentary by Richard Shepard (5:55) – a micro commentary is included by Shepard as the pictures play. Shepard is both informative and very entertaining as he discusses these various behind-the-scenes pictures and some truly wonderful recollections about Bowie both on and off set.
The Linguini Incident – Original Theatrical Version (1:38:22) – one can see why Shepard wanted so badly to recut and reshape this film from its original theatrical form. It isn’t a drastically different film, but it lacks punch and the unique flair that the director’s cut (which is shorter by around 5 minutes) has. Presented in Standard Definition.
2024 Theatrical Trailer (1:42)
Original Theatrical Trailer (2:18)
The Final Thought
The Linguini Incident in its true director’s cut is the reason for celebration, a huge discovery for Bowie fans. MVD Entertainment has delivered a truly wonderful edition for a truly wonderful film (in its director’s cut form). Highest possible recommendations.
MVD Entertainment’s Blu-Ray edition of The Linguini Incident is out now
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