In Nonnas,” after stewing in prolonged grief post his mother’s death to cancer, transit worker Joe Scaravella sees opportunity in a shut-down restaurant in Staten Island. He sees it as an opportunity to keep his deceased mother as well as his grandmother/nonna’s legacy alive through authentic traditional cuisine, prepared entirely by grandmothers with Italian blood and a passion for cooking.
But as the saying goes: “Dopo la pioggia, arriva il sole” (translation: one can’t have sunshine without a little rain). Despite his day job, Joe (Vince Vaughn), a novice to the hospitality industry, is left scorched by debt. It doesn’t help that tensions are soaring in a neighbourhood that isn’t accepting of the Brooklyn native. Locals deem him as too urban, particularly disapproving of his passion project, which is unjustly labelled distasteful and ‘gimmicky’.
Comforting, Food-Centric Cinema
Along the way, there are overwhelmingly dark areas but also bright spots on this journey of navigating first-time entrepreneur jitters. Joe deals with fiery grannies who work at various temperaments, with little-to-no coordination or teamwork. This is especially seen during an initial trial-and-error period that leads to the Great Capuzzelle Fire. Additionally, it looks like the budding restaurateur might have to close shop before he can even open to the public. Thankfully, a combo of Catholic guilt, an incantation to Italian saint Padre Pio, and good-old Craigslist has the power to move mountains.
Directed by Stephen Chbosky (known for his YA classic “The Perks of Being a Wallflower”) “Nonnas” is based on a true story, with a few creative liberties. It joins the line of simplistic, comforting, food-centric cinema. These include “Un Samayal Arayil” (a feel-good Tamil rom-com), ”Chocolat,” and “From Scratch.”
“Nonnas” captures a cultural tug-of-war and other familiar themes with nuance and humour. Instances of the same include the opening scene of a family dinner that bridges the gap between generations, with individuals at the table sharing opposing opinions on gastronomic terminology (“Is it sauce or gravy?”). And later two nonnas from Sicily and Bologna hash it out over the popularity of their signature dishes. They’re prepared to defend ingredients such as sheep’s head/Capuzzelle that are deemed unorthodox but crucial to their identity. Sweet gestures such as Joe bringing over zeppole as a peace offering after a fall-out with his contractor and best friend, Bruno (Joe Manganiello), also highlight the role of food in mending bonds. In a similar vein to the aforementioned “Un Samayal Arayil,” the movie also offers the rare but refreshing sight of men in the kitchen.
Exploring Grief Without a Timeline
The theme of grief’s also explored, with the movie painting a moving picture of how mourning should never be a glib affair. Yet food plays a prominent role. A funeral turns into a feast with relatives bringing over containers of fresh pasta, cassatas and other signature dishes, and a fruit basket to comfort grief-stricken Joe. Moving on is likened to aged cheese or food cooked over a slow simmer. It’s a gradual process (as Linda Cardellini’s character, Olivia, a widow, puts it, “Grief doesn’t have a timeline, so why should we?”
Joe’s dream of opening the restaurant and perfecting his late nonna’s ‘Sunday Gravy’ recipe signify self-care and a quest of attaining closure. Simultaneously, it serves as a tale of senior citizens overcoming a real fear of being discarded like leftovers. This is amplified through the nonnas fretting over being viewed as antiques, their recipes going to waste instead of being passed on as legacies to future generations. Joe, on the contrary, disagrees with this notion. He consoles them and reignites their hope by holding onto an adage passed to him by the matriarchs of his family: “One does not grow old at the table.”
While Liz Maccie’s screenplay is somewhat undone by cliched dialogue, the vibrant character dynamics and layers cover up these few blemishes. A scene of the nonnas unwinding after a long day by uncorking a bottle of limoncello at a salon run by the restaurant’s resident baker, wig maker, and Joe’s family friend Gia (Susan Sarandon), stands out. The scene is rich with a monologue on the meaning of beauty. It depicts how even the most seemingly-perfect grandmother hides a flaw, burdened by regret over being an emotionally-distant parent.
Vince Vaughn Leads a Great Cast
The movie also impresses with progressive feministic undertones as the interiors of Joe’s restaurant feature a woman’s touch at every corner. It’s been redesigned by Bruno’s wife Stella (Drea de Matteo) who finally fulfils her own long cherished dream of becoming an interior decorator. Even the title of the restaurant speaks of this, Enoteca Maria, named for Joe’s mother and grandmother respectively. In the aforementioned sequence at the beauty salon too, Gia—who is considered as a ‘supermodel’ by the rest of the nonnas—confesses about being perceived as a threat by other women due to her beauty. IT depicts how idealistic beauty standards have pitted women against each other and fed into deep-festering insecurities. Furthermore, this same sequence is a demonstration of allyship and acceptance among the women who were previously divided by their differences.
The cast is undoubtedly stellar too, with Vince Vaughn lending a sincerity to the inexperienced but headstrong and passionate Joe Scaravella. Vaughn letting out a high-pitched childlike chuckle when Enoteca Maria‘s very first rave review rolls around is music to one’s ears. It’s especially poignant after the amount of rejection that Scaravella faced due to low marketing and little to no customer base or fanfare. Vaughn and co-star Linda Cardellini also share a cute chemistry, with the latter playing Olivia, an equally headstrong lawyer and Scaravella’s ex-flame with whom she shared a ‘very short but long history together’.
Aesthetically-Pleasing Comfort
The pair is, however, overshadowed by the titular nonnas and their respective backstories, particularly by Talia Shire’s Teresa. This character, a soft-spoken ex-nun who hung up the habit due to the Church’s regressive views, serves as the peacemaker among the beefing nonnas. The chaotic kitchen is reminiscent to Shire’s early role of Adrian from the “Rocky” franchise, and the actress wins viewers over yet again with her saccharine sweet, endearing demeanour. A scene featuring Teresa, gleefully intoxicated on limoncello, allows Shire to flex her comic timing too.
The rest of the cast is apt, too. Susan Sarandon turns up the charisma to an eleven as Gia, the spunky and modern woman bursting with a new zest for life after a brush with death in the past. She introduces her peers to the concept of beauty, femininity, and strength going hand in hand. “The Sopranos” alum Lorraine Bracco and Brenda Vaccaro impress with their ability to play off each other as the quarrelsome duo of Roberta and Antonella. Meanwhile, Joe Manganiello is convincing in a supporting act as the practical Bruno who warns Joe of financial ruin.
A Film that Lifts the Soul
“Nonnas” is completed by aesthetically pleasing shots of the kitchens, the New York skyline as Joe ferries between Brooklyn and Staten Island, and a local market where he shopped for fresh produce with his grandmother. This serves as a time capsule of nostalgia for him. The film is further aided by crisp sound design that compliments appetising close-ups of ingredients sizzling or being tossed gently in pans, pepper grinders swiftly cranked up for seasoning purposes, etc.
Ultimately, “Nonnas” proves to be light fare that fills the stomach, lifts the soul, and invites viewers to just ‘mangia’! (dig in).
“Nonnas” is streaming on Netflix.
