Not as well known as other more celebrated British dramas of the period, director James Hill's tasty melodrama 'The Kitchen' is an insightful, passionately performed melodrama claustrophobically set within the stifling confines of a tumultuously busy Soho eatery. The head porter, breathlessly beleaguered head chefs, fry chefs, and an overwhelmed waiting staff daily prepare an array of steaming hot meals, always under the omnipresent gaze of their bovine boss, Marango (Eric Pohlmann). This disparate collection of colourful characters interact intensely with one another within their witheringly high pressure environment. The Kitchen is a theatrical, frequently noisome affair, but it is never shrill or mawkish, with many of the more pressing concerns voiced herein being no less relatable today. There's one especially moving, beautifully written monologue, no less eloquently performed by the never less than sublime, Tom Bell.
'The Kitchen' is one of those rare films that grabs your interest right from the start, no tiresome histrionics, no glib gimmicks, just a weary group of altogether 3-dimensional workers going about their daily business as best they can. Some of them being more Stoic about the enervating travails than others, 'The Kitchen' remains a most flavoursome celluloid stew, simmering scintillatingly to an emotionally rich climax. All the finest film-making ingredients are expertly blended by director, James Hill, making the most of the salty script by gifted writer, Arnold Wesker. His engaging text brought vividly to life by equally refined actors, 'The Kitchen' proved to be such a delicious treat that I certainly wouldn't refuse second helpings!
Watching these oppressed individuals struggling in such an increasingly inhospitable locale occasionally brought to mind a WW2 submarine crew, deeply submerged in enemy waters, but instead of anxiously avoiding depth-charges they fear yet another fat-sputtering serving of battered plaice! Stentorian restaurant owner Marango is played with militaristic gusto by esteemed character actor, Eric Pohlmann, a not unfamiliar figure in many notable WW2 dramas, and his disparaging, hypertensive outbursts of 'Sabotage!!!!' 'Sabotage!!!!' raising the combative environment to boiling point. This steamy, kitchen-set, piping hot drama cooks with gas, as working in this highly pressurized environment, someone is bound to get burned!'
'The Kitchen' is one of those rare films that grabs your interest right from the start, no tiresome histrionics, no glib gimmicks, just a weary group of altogether 3-dimensional workers going about their daily business as best they can. Some of them being more Stoic about the enervating travails than others, 'The Kitchen' remains a most flavoursome celluloid stew, simmering scintillatingly to an emotionally rich climax. All the finest film-making ingredients are expertly blended by director, James Hill, making the most of the salty script by gifted writer, Arnold Wesker. His engaging text brought vividly to life by equally refined actors, 'The Kitchen' proved to be such a delicious treat that I certainly wouldn't refuse second helpings!
Watching these oppressed individuals struggling in such an increasingly inhospitable locale occasionally brought to mind a WW2 submarine crew, deeply submerged in enemy waters, but instead of anxiously avoiding depth-charges they fear yet another fat-sputtering serving of battered plaice! Stentorian restaurant owner Marango is played with militaristic gusto by esteemed character actor, Eric Pohlmann, a not unfamiliar figure in many notable WW2 dramas, and his disparaging, hypertensive outbursts of 'Sabotage!!!!' 'Sabotage!!!!' raising the combative environment to boiling point. This steamy, kitchen-set, piping hot drama cooks with gas, as working in this highly pressurized environment, someone is bound to get burned!'