The other night I watched a Mexican movie from the 1940s called
Aventurera (Adventuress), which I highly recommend for combining all the best parts of a Carmen Miranda musical, the Lana Turner-Johnny Stompanato affair, and Reefer Madness. Ninon Sevilla, an actress who sort of contains her own Carol Burnett Show parody, plays Elena, an innocent young girl-- you can tell she's innocent because in the first ten minutes of the movie, she never takes a normal step, she only skips from one place to the next. Alas, as always in the movies, the more blissful the initial setting, the faster everything is going to go to hell, and soon after Elena discovers Mom making out with an old family friend, Mom runs off with him, Dad shoots himself, and luckily Elena has another old family friend who just happens to be a gangster working for the city's most notorious madam. After the madam's lame, mute assistant Rengo threatens to carve her face with his pocket knife, Elena sees the advantages of a career in the personal services sector, and soon is servicing drunken lechers upstairs while dancing in the brothel's unexpectedly spectacular (and seemingly financially unsustainable) dance numbers, though her career is not entirely without setbacks, mainly the fact that she has a tendency to start brawls on the dance floor at the slightest provocation, which prompts a couple of more threatened improvements by Rengo. Several more things happen and soon Elena is engaged to a rising young lawyer who knows nothing of her past, he takes her home to meet his highly respectable society mother, and who does she turn out to be but... the madam!
That basic setup out of the way, the movie gets down to its real business, which is a war of wills between a vengeful Elena and the equally indomitable mother-in-law.
One of the things I like about old movies is the grand, lurid emotionality they're willing to display; by comparison new movies may pile on the outlandish special effects but in terms of plots and emotion they are utterly drab and ordinary. Take for instance the Matrix sequels, in which the visuals get ever more enormously baroque but the relationship of Neo and Trinity turns into the sort of clingy, needy, mopey affair that your college roommate had with that stringy-haired girl who just wanted to sit around and talk about poetry when you wanted to crank up the Led Zep and get high. Movie characters once lived large, sinned big, suffered operatically; now they just get therapy on screen, even the epochal first arrival of aliens is merely a triggering event to help Jodie Foster work through her leftover issues with her dad (Contact) or Tom Cruise become a better one (the upcoming War of the Worlds). (On the other hand, Independence Day did have that wonderful first-act climax in which we were all encouraged to feel good because, though most of the residents of L.A. had just been incinerated, at least the stripper, her little girl, AND their dog were safe.)
I was thinking of all that as I ate at Sal y Carvao in Wheaton or Downer's Grove or Oakbrook or wherever (why there? long story) the other night, having sold it to my family on the thrills of excess-- meat on swords! (That was enough to sell my sons.) Extravagant salad bar! Tonight-- we leeve and love like Brazeelians!
Would that we had enjoyed the grand passions and carnivalian excess that the image promised. Certainly the sight of large meats roasting sacrificially on spits near open flames was promising. The inside, though, was done in clubman dark wood, indistinguishable from a McCormick and Schmick's, or a Steak & Ale of twenty years ago. Give it points for employing actual South Americans in fluffy shirts, not bored kids from Western Springs spotted with flair, but there was little enough theatricality in the way the same few meats came by on swords and were sliced off with obvious fear of either grease spilling, expensive meat falling, or "swords" impaling small children. Meanwhile, they aggressively pushed the inexpensive fillers, which my children snatched up as soon as they arrived. (Well, one kid was half price and the other free, so I can't begrudge that.)
How was the quality? I know they don't use the finest cuts, I didn't expect that, so generally things were tasty and as tender as I expected, I admired that the sirloin had a discernable livery tang and the pork had real porky flavor. Too many things were wrapped in bacon (that's who eats bacon any more, GAF), and most of those were much less flavorful, I learned to stay away from those. The salad bar was a nice-looking spread, good fresh mozzarella balls, a chance to pile up on hearts of palm which my father used to devour and which you never see in restaurants any more. And yet, overall... ennh. To quote a song that was current when hearts of palm were, Is that all there is?
Around the walls is a modernist design of a tropical aquarium... when the lights are turned low for dancing, strange and exotic fish appear in a glow of phosphorescent pastel colors... a word about the famous "Theatrical Nights" on Thursday nights... Actors and actresses, famous and not so famous, come here after the theatre on these nights and put on an impromptu performance the likes of which you will never forget.
That is, needless to say,
not a description of Sal y Carvao in Wheaton or wherever, but rather the College Inn, as described by John Drury in Dining in Chicago (1931), and demonstrating how another age lived and danced and loved. Once there was real showmanship in the act of dining; yet somehow we became afraid of showmanship, it became associated with prefabness, Disneyesque and Melmanesque cuteness, with being had. Even the famous chefs who are able to bring it back in their food (at the likes of Moto) wind up being constrained to do so within an environment whose art museum hushedness assures the public that art, and perhaps science-- but nothing so vulgar as entertainment-- will be taking place on the premises.
For the conservative diner, Sal y Carvao offers the propect of showmanship with the assurance of its actual absence; it offers the outward appearance of dining adventure while assuring you that there will never be a sauce you do not like, a meat or dish you do not recognize, a foreign word used that you do not recognize. There's not even a choice to be made, it all comes to you. (Yet it comes so frequently and intrusively that you can't simply tune your meal out, as you can at most places serving the business meal crowd.) Long before it was over, I was bored with it, and do not tell me that Fogo de Chao is better at this or that, because I was bored with the category, the whole concept. Until they start setting sworded meats on fire and flinging sizzling pieces from across the room while on horseback, I'm not going back.
Sal & Carvao Churrascaria
3008 Finley Rd.
Downers Grove, IL 60515
Phone: 630-512-0900
New College Inn
Randolph & Clark Streets
Open for luncheon, thé dansant, dinner, after-the-theatre supper, and until the milkman comes
Cover charge after 9:30 is $1.00. Saturday nights, $1.50. On Theatrical Nights, $2.00.
Maitre d'Hotel: J. Braun
Last edited by
Mike G on May 24th, 2005, 9:28 am, edited 1 time in total.