When I was twelve, my father took me to see a little film called Evil Under the Sun-- the last in a trio of tony Agatha Christie whodunit films that somewhat shaped the person I am today. The first, Murder on the Orient Express, cemented my passion for train travel and smart suits; the second, Death on the Nile, ignited a fondness for women in floppy sun hats and beautiful, wee handguns. It was Evil Under the Sun, however, that really stayed with me. Some would understandably think the reason was Diana Rigg having a field day being a classic, haughty, soon-to-be-murdered bitch, or getting to see Roddy McDowall in a never-ending series of sailor suits, but they would be wrong. Not too far off, but wrong, all the same.

It was Maggie Smith. Maggie Smith and her cocktail parties. I don't think my father had any idea what he was getting me into when he took me to see that picture.

It was a simple scene, really-- almost a throw-away, apart from firming up the tension between Diana Rigg's Arlena Marshall and just about everyone else residing at an exclusive, Mediterranean island resort. While passing around a tray of hors d'oeuvres to her guests, Smith asks the world-famous detective Hercule Poirot (Peter Ustinov) if he would care for a cocktail. "Care for a cocktail, Monsieur Poirot? A White Lady, Sidecar, Mainbrace, or Between the Sheets?" Poirot rejects them all and asks instead for either crème de cassis or sirop de banane. With a bit of a sigh, she acquiesces, only to move on to offering Diana Rigg a sausage-- the one thing of which one would think she had had enough, given her proclivities.

And that was it. I followed the murder well enough, and the inevitable, intricate unveiling of who-done-what. But I kept thinking about those cocktails. As I sat in that theater, I decided that I was going to be the sort of chap who drank Sidecars and Between the Sheets while Cole Porter tunes were played somewhere out of sight on a piano. I filed their names away in my memory and bided my time.

When the appropriately legal time finally came nine years later, I unleashed my inner Maggie Smith, marched into a very (to me) upper, upper lounge in Los Angeles, and ordered a Between the Sheets from the bartender.

"I'm sorry," he said, "You're going to have to tell me what's in it." When I recovered sufficiently from the shock, I next asked for a Sidecar. "Can you tell me what's in a Sidecar? Maybe if you knew what you were asking for, I could help you." Devastated, I settled for a martini to drown my nine years-worth of disappointment. How on earth could a bartender at the Atlas Bar & Grille-- a place decorated in the luxe fashion of a 1930's Supper Club, a venue that showed old films from that era on a giant screen, no less-- not know how to make a Between the Sheets? Given its Hollywood location, I should have realized that everything, maybe even my beloved fantasy cocktail, was an illusion.

Perhaps he was right-- I should have done a little research. I bought a book of classic cocktail recipes, just to make sure the screenwriters hadn't made up the names.

They did not.

Very much relieved and filled with renewed hope, I made my way back to the bar the following week-- this time armed with the recipe. I called out the ingredients in a voice that was only vaguely Smith-like, and finally got what I'd been waiting for. I got my Between the Sheets.

Between the Sheets

Like most cocktails, the origin of the Between the Sheets is murky. Some people believe it was created at Harry's New York Bar in Paris (the place, incidentally, where George Gershwin partly composed An American in Paris) in the 1930's. Others hold fast to the notion that it was the brainchild of a bartender at the Berkeley Hotel in London in 1921. It doesn't matter much to me. I'm just grateful that someone created it.

The Between the Sheets is a very close cousin to the Sidecar-- a drink most bartenders now know, thanks to the surge of interest in classic cocktails. Made of white rum, brandy, and Cointreau, it even comes with a sugared rim. It is a tart, refreshing member of the sour family of alcoholic beverages.

The following recipe is not the classic one. While white rum is well and good in its place, I think it has a bit of trouble competing with the brandy and other flavorings. I have substituted my favorite dark rum instead, which makes its own, indelible impression without overpowering the other players.

Not unlike Dame Maggie Smith herself, if you ask me. I know you didn't ask me, but if you did, that is what I would tell you.

Ingredients

1 ounce dark rum. My personal preference is Zaya (thank you, Shannon).

1 ounce brandy

1/2 ounce Cointreau

1/2 ounce lemon juice

1/2 ounce simple syrup

Ice

A twist of lemon or orange peel for garnish, which is purely optional. Or sausage, if you are feeling saucy enough and think you can pull it off.

Preparation:

In a cocktail shaker, insert ice. Pour all liquid ingredient over ice. Close lid of shaker. Shake vigorously and pour into an awaiting martini glass. Garnish, if that pleases you.

Just a mile from the skyscrapers of downtown Pasadena lies a tiny plot of land that has become the heart of an urban homesteading movement. The raised beds of the Dervaes family farm cover 1/10 of an acre. Imagine the area from a football field's goal line to the very first 10-yard mark, or if you're an average suburban homeowner, scan your backyard. Now, imagine harvesting 3 tons of organic food from this short span of soil every year.

Robert McFall's documentary, Homegrown, is an intimate family portrait that reveals both the visionary inspiration and the resolute dedication required to grow one's own food. For Jules and his adult children, Justin, Anais, and Jordanne, the Dervaes farm began as an experiment to see how much of their own food they could grow. A natural extension of the father's experience during the back-to-the-land heyday of the 60s and 70s, their gardens soon led to living off-the-grid. They catch rainwater and recycle grey water, keep animals for manure and collect oil from nearby restaurants to produce their own biofuel. They order hand-cranked appliances from Amish catalogs. They put up their own green beans and illuminate their home with a self-reliant mix of olive oil lamps, biodiesel lamps, homemade candles, daylighting and the occasional fluorescent bulb.

Jules speaks of how we can save the world by taking care of our six inches of topsoil. Like farming, living off the grid began as a political statement and personal challenge. It has since grown into an integral part of their working farm. His children have absorbed his lessons and, like him, have chosen to make it a way of life.

The film includes the usual scenes of the family picking and eating ripe tomatoes from their garden--a trope of any story remotely related to sustainable agriculture. What distinguishes the kitchen and dining room scenes in Homegrown is the image of the Dervaes repeating this meal day in, day out. In a country where one's teen years are simply an extended, fight-filled countdown to the freedom of flight, it's astonishing to see all three grown children living and working so closely, so contentedly alongside their father. Organic, locally based, and ecologically sound agriculture requires huge amounts of labor. We often forget the "family" half of the equation in family farming. Watching older and younger generations working together is a reminder that there are still deeper cultural changes required for a truly sustainable society.

After a meal at their table, we're invited to sit in on one of the family's operational meetings. Here, the reality of business collides with the purity of the Dervaes' ideals. An extended discussion about accepting advertisements on their website highlights the challenges of making real-world decisions while pursuing deeply philosophical and political goals. With over 4,000 visitors each day, PathToFreedom.com could bring in significant income. The opportunity to make an additional $10,000 a month on a farm that grosses under $40,000 a year cannot be dismissed, and the debate marks a milestone for the family.

Jules fears that once they walk the path of easy money, they'll never return to the hard work of farming. His children, the ones who design, code and maintain the website, believe ads are a minor concession: why shouldn't they benefit financially from the enormous amount of experience gained through their own hard work and offered so long for free? The thought of ads, even for supportive seed companies they favor, visibly pains Jules. The younger generation is respectful enough to allow their father to override, for now, their willingness to take on a bit more of capitalism's gloss as their homestead matures into a profitable business.

It's obvious that there will be many more meetings and delicately balanced debates about the future of the farm. Building their client list, gathering a strong community of supporters, making wise choices, growing their business as purely and sustainably as the delicate lettuces they harvest, and establishing new homesteads in turn for each of the children--it will be a lifetime of growing and learning for the Devaes family. Homegrown is a privileged gaze onto that rare, difficult journey.

UPCOMING SCREENINGS

Mill Valley Film Festival

Sunday, October 11, 1:00 PM
CinéArts at Sequoia
25 Throckmorton Ave.
Mill Valley, CA 94941
Map

Tuesday, October 13, 6:45 PM
Christopher B. Smith Rafael Film Center
1118 Fourth Street
San Rafael, CA 94901
Map

San Francisco Documentary Film Festival

Saturday, October 17, 7:00 PM
Thursday, October 22, 9:15 PM
The Roxie Theater
3117 16th Street
San Francisco, CA
(415)-863-1087
Map

I suppose we can thank Anthony Bourdain for the stereotype of the wild man chef. In Kitchen Confidential, his descriptions of "whacked-out moral degenerates, dope fiends, refugees...and psychopaths" haphazardly gobbling substances and screwing on flour sacks between shifts made cooking in a restaurant kitchen seem like both the worst and best job imaginable. He romanticized the depraved hangover-to-hangover existence of a clock-punching turner-and-burner even as he cast his world in a hyper-realistic light, widely disseminating a broad colorful portrait of the journeyman chef, specifically a male one, that quickly congealed in the public mind. He popularized an archetype young chefs may even aspire to emulate -- like fledgling rock singers copping Jagger's pout and other well-traveled performance tropes.

In July 2009, Lev Grossman wrote of Bourdain in Time:

"It was invisible then. Now we recognize it right away: this is Anthony Bourdain's world...He changed our whole cultural idea of what a kitchen is. Pre-Bourdain, it was a warm, cozy, maternal place. Now it's a profane, brutal, masculine crucible, where human frailty is rendered away like so much tasty bacon fat."

Of course, Kitchen Confidential didn't tell chefs anything they didn't already know. I also doubt the book would have been such a sensation had it not arrived at a time when cooking and eating were becoming popular fodder for entertainment on the Food Network, and chefs were more and more in the public eye. Today, celebrity chefs are brands -- swollen, polished amplifications of the managerial personalities they cultivated actually manning kitchens. I'm not trying to write a college paper here, but I have noticed (as have many others) that nearly all of the high-profile celebrity chefs are men. While female Food Network hosts -- like Rachael, Giada, and the newly minted Melissa-- focus on saving time, shopping frugally, and feeding families -- clear extensions of the domestic arena -- male celebrity chefs focus on the craft itself, food for its own sake, cooking as an endless array of skills to acquire and adventures on which to embark in the carrying on of tradition and technique. They can approach food from an intellectual perspective. You learn about salumi. You study pizza. You get your education one cream-laden sauce at a time. You come of age in a French kitchen helmed by a venomous, insult-spewing maniac. You soak up abuse like a crostini, work awful hours, and get paid little to no money, but it's what you expect -- because you're an apprentice. You have to be man enough to take it. Some day, you'll be an executive chef yourself, and you'll have your own cadre of serfs to kick around. Until then, you mince onions and practice cursing. While women obviously pass through similar rites of passage in kitchens all over the world, in the realm of food entertainment, they're relegated to clipping coupons, dumbing down complicated dishes to satisfy some producer's market-tested vision of the American housewife, and attracting no shortage of she-can't-really-cook mockery from their male counterparts. Older female celebrity chefs -- like Lidia Bastianich, for example -- are motherly and comforting. They learned to cook from their mothers, and that's what they're sharing with you.

Everything on television is deliberately orchestrated, of course, but many of the common signifiers of male chefness -- the cursing, the drinking, the fighting, the screaming, the preoccupation with large pieces of meat -- whether expressed on camera, in memoirs, or reputation via third-person anecdotes -- endow a traditionally feminine role with coarse, conventionally masculine trappings. Producers want men to feel safe watching their shows. They don't want the women to appear shrill, unattractive, bossy, or otherwise threatening, or for the men in aprons to come off as effete. Over the course of six seasons of Bravo's Top Chef, some of the show's most reviled male contestants have been wheedling, effeminate men. Likewise, when Padma Lakshmi, host of Top Chef, did a tour of Spain for the Food Network way back in early 2000s, she was not tripping around, Bourdain-like, shit-faced on sherry, taking bullfighting lessons, making subtle references to gastrointestinal distress. Instead, cameras zoomed in again and again as she slowly lowered strips of fine jamon into her mouth, oohing and cooing, her face bathed in a soft, warm lamp-lit glow. In one segment, she rode a horse, in another, a donkey. She did go to a bullfight, which the bull managed to win against all odds. Relieved, Lakshmi repaired to a nearby restaurant, where she ate the balls of one of the victorious bull's less fortunate comrades.

Men who have become famous cooking and eating in the public eye go out of their way to project a masculine image, and their carefully constructed personalities stud every crevice of the machismo spectrum. Ginger-coiffed Bobby Flay, proprietor of what Grub Street deems the 13th largest chef empire, is a wise-talking Jersey dude. He's richer than an oil tycoon but he has real friends. How do you know? They come over to his modest-seeming house for sausage party cook-outs. Sometimes, when he's smirking his way through a Throwdown episode, he looks like guys I've seen at bars late at night, red-faced, a little sweaty, leering at ladies between shots of Patron. 8th on Grub Street's list, Mario Batali, corpulent, jolly, and orange-clogged, is renowned for Falstaffian excesses. With his Tourettic interjecting of idiotic catch phrases, Emeril Lagasse, locked with Jean-Georges Vongerichten and Nobu Matsuhisa for #5 through #7, strikes me as a man who always speaks louder than he has to. With his Stray Cats-meets-Swingers-in-the-back-of-a-Sunglass Hut shtick, Guy Fieri apparently wowed audience members at this year's Great American Food and Music Festival in Mountain View with what Bay Area Bites contributor Stephanie Im called a "highly entertaining blowout performance complete with loud rock n'roll, gratuitous hot chicks on stage, big machinery, power tools, and pyrotechnics." The owner of 27 restaurants around the world, Gordon Ramsey has bounced over some financial ruts lately, but Grub Street still has him in the #1 slot. His shows are crude spectacles of theater Artaud, would find unwatchable. Ramsey berates chefs, spits food on the floor, and picks fights. Off-screen, he's compulsively disrespectful, particularly towards women. Bourdain? Well, he doesn't actually cook much anymore, but he drinks a lot on No Reservations and makes a point of eating anything put in front of him, regardless of how strange or off-putting it may be. When he's not going shooting with Ted Nugent, he's a culturally sensitive daredevil -- an Evel Knievel of antacid-defying degustation. I can eat this gigantic sandwich, these bulbous eyeballs, and this disgusting warthog anus, he seems to say -- could you? When he and Eric Ripert venture back into the Les Halles kitchen to char beef and sauce sole for Season Four's "Into the Fire" episode, they're in the war zone, brothers sloshing through the trenches, dunking freedom fries in spitting oil and hustling out steak au poivre as the foes -- the diners -- descend in overwhelming numbers. Interestingly, Jamie Oliver, who on several occasions has been the target of Bourdain's bullying, was the subject of a 2003 academic article published in the International Journal of Cultural Studies: "Oliver's Twist: Leisure, Labor, and Domestic Masculinity in The Naked Chef". The writer, Joanne Hollows of Nottingham Trent University in England, frames Oliver as a construction of the masculine domestic cook. According to Hollows, in his professional capacity, Oliver avoids associating cooking with labor; instead, it's a fun, leisurely, and "recognizably manly" activity.

You'll never see a man on a cooking show gasping and groaning over the way something tastes -- over-sensualizing their pleasure from food. "Oh that's serious," Bourdain will say, wiping some beastly innards off his face, taking a swig of Heineken. Emeril and Fieri will bark as if they're at a ball game. Batali will explain why something is good, rather than simply express how happy he is to eat it. Some kinds of cooking -- grilling, artisanal curing, brawny offal-centric preparations -- tend to have hyper-masculine devotees. Molecular gastronomy -- food science, art, and fantasy in a delicious jumble -- is safe too -- because it's so dramatically removed from the drudgery of home-cooking. Every now and then, you see a gentle man cooking on television, and the effect is jarring. In March, celebrated Manresa chef David Kinch schooled Bobby Flay on Iron Chef. Even though his restaurant is a destination, the soft-spoken and terroir-enthused Kinch will never have product tie-ins -- commercial mayonnaise, kitchen gear, spice rubs, etc -- on Flay's level -- even in the unlikely event he wanted to in the first place. He'd rather build "tide-pools" of fresh shellfish and sea beans languishing in dashi-laced green tomato broth and go surfing in his spare time. One of my favorite cooking shows was Charlie Trotter's original Kitchen Sessions on PBS in the late 1990s. Amid a loose jazz soundtrack, Trotter very softly presented his thesis: cooking is a cycle of improvisations where time-tested techniques meet endlessly changing circumstances and opportunities for adjustment. The food was high-concept, challenging but within reach. As a host, he was a soothing presence -- murmuring vaguely poetic asides, often looking away from the camera, frequently indulging in tangential digressions appropriate to his show's statement of purpose. Trotter has been very successful, but his show, at least in that incarnation, didn't last more than a year or two. Ironically, Trotter actually made a cameo in the 1997 movie My Best Friend's Wedding, in which he convincingly played the stereotype of a blustery chef, bellowing at an assistant: "I will kill your whole family if you don't get this right!" It's a better joke now, twelve years later.

A terrible song has been going through my head for the past few days. I have absolutely no idea how it got there. I have some theories, but nothing concrete. I've been humming it at work and singing it in the shower, but it won't go away.

So I thought the best way to get rid of it would be to share it with everyone I know.

It's called "The Tapioca," from the 1967 film Thoroughly Modern Millie, starring Julie Andrews, Mary Tyler Moore, and Carol Channing.

Andrews plays a simple country girl from Montana, who seeks to live a thoroughly modern, Jazz Age life in the Big City and ultimately marry her boss. If you can swallow Miss Andrews as a Montana girl, you can swallow just about anything. Except possibly Carol Channing, who was unjustly beaten out of a Best Supporting Actress Oscar for her portrayal of Muzzy, the trombone playing, xylophone-dancing Jazz Baby Southampton matron, by Estelle Parsons who had a bit part in some little film called Bonnie and Clyde.

Robbed, I say. Just robbed.

When Millie first meets Jimmy, the fresh-as-paint (spoiler alert) man she will eventually marry, even though he is not her boss, he decides to liven things up at the "Friendship Dance" he has just crashed by creating a new dance step. For inspiration, he asks Millie what she has most recently consumed for dinner. Franks? Sauerkraut? No, and no. When she utters the distinctly American phrase, "I had tapioca for pudding," he knows he has a hit on his hands.

Just watch and learn:

So now you know. Just thank your lucky stars I have spared you any of Miss Channing's numbers.

I will however, leave you with this, simply because it will help to explain why this film seems to upset so many of my friends:

I haven't decided if making tapioca has helped to relieve my psyche of these scenes or permanently scarred it. I do, however, know that it is, as Miss Andrew's says, "Dee-lish."

And it is infinitely easier to swallow than anything in this film. Except, perhaps, Beatrice Lillie. She adds just the right dash of soy sauce to make it just-about-palatable. Watch the movie, if you dare, and you will understand.

Enjoy.

Tapioca Pudding

Raspberries are entirely optional.

Serves 4 to 6. In my household, however, this only served one. In two sittings, mind you.

This is not my recipe. It is Heidi Swanson's, from 101 Cookbooks. I've made a lot of recipes from her website-- every one a winner. They are simple-but-interesting, well-documented, and better photographed that most. And they have a certain earnestness about them I like, which this tapioca recipe exemplifies.

I had the idea of cooking all of her recipes within the span of one year and blogging about it, but that just seemed silly. Who would be stupid enough to do something like that?

Ingredients:

3 cups organic milk, divided

1/3 cup small pearl tapioca

2 extra-large egg yolks, lightly beaten

1/4 teaspoon fine-grain sea salt

1/3 cup sugar

1 vanilla bean, split along the length (or 1 teaspoon vanilla extract)

Preparation:

1. Pour 3/4 cup of the milk into a medium-sized, thick-bottomed pot, like a dutch oven, or what have you. Add tapioca and soak for 60 minutes or up to over night.

2. Whisk in the egg yolks, salt, sugar, and the remaining milk. Scrape the vanilla bean along its length with a knife and add that bean "paste" along with the bean itself to the pot (if using vanilla extract instead, stir it in at the very end, when the pudding is completely cooked). I like to pin the bean to the bottom of a wooden spoon as I am stirring to extract as much of the flavor as possible.

3. Slowly bring the mixture just barely to a boil, stirring all along-- this should take about 15 minutes. Reduce the heat and let the mixture fall to a simmer-- you keep it here until the tapioca is fully cooked, another 20 minutes or so. At this point, however, it might be wise to heed Jimmy's advice to not let the temperature drop too many degrees, or you'll wind up with what is called the Frozen Tapioca Freeze. Doubtful, it's true, but anything is possible when we suspend our disbelief long enough to believe anything that happens in a movie musical.

4. When the pudding is ready, the tapioca beads will swell up and become translucent and custard will thicken dramatically. Taste to adjust flavoring, adding salt or a little (more, if using) vanilla extract, if desired.

Best when served fresh and still-warm, but you won't find me complaining as I wander to the fridge at 1 am to load a cold spoonful or two into my mouth.

Avec poultry

For every exuberantly stylish and special "Tampopo," a few dozen "No Reservations" sail into theaters to sully the food flick sub-genre: bland, safe, commercial fare smothering run-of-the-mill romance in warmed-over foodie platitudes. The tradition is troublesome, by nature, a challenge. Food engages many senses; apart from the best singularly dedicated cooking shows, the characteristics of a great meal aren't easily palpable to a viewer deprived of taste -- especially when the meal unfolds within the context of a scene in a larger narrative. Food might look okay on-screen, but it rarely comes off as particularly delicious, even in decent movies. Actors can munch on some food stylist's pretty concoction, roll their eyes, and moan embarrassingly with hammy delight, but, so frequently, even the most sumptuous footage -- hyper-real and luscious -- falls flat beneath the weight of woefully unnatural theatrics.

For the newish "Julie & Julia," Nora Ephron supposedly insisted that the food both look and taste right. In this movie, the food being cooked and eaten was clearly conceived as a character, something alive and provocative, ripe for interaction: the actors must enjoy what they're spooning up, so their enthusiastic oohs and ahhs ring truer with audiences. The whole thing theoretically hinges on faith in the food's ability to convincingly express itself, which is interesting, considering the film, at its core, isn't so much about food at all. Or at least that's how I saw it at the Kabuki on Saturday afternoon.

In "Julie & Julia," two stories, separated by continents and over half a century, congeal in parallel narratives: In 1949, Julia Child discovers fine food in Paris and ventures towards the brink of a soon-to-be mighty culinary career; in 2002, Julie Powell, a younger woman, exiled to Queens, directionless and dissatisfied, parlays a therapeutic tear through Child's ultra-famous "Mastering the Art of French Cooking" into a popular blog, and ventures towards the brink of writerly success in the form of a book deal.

In the beginning, Meryl Streep's guffawing party-gal of a gastronomic icon just wants something to do. She likes many things, including hats, but food is the latest fancy, her greatest since arriving in Paris with her husband Paul. Encountering a sprinkling of sexism and a healthy dose of anti-American resistance, Julia studies at Le Cordon Bleu, begins teaching classes, and starts work on what will become her seminal tome.

Julie is about to turn 30. She's not a selfless person, but she works a selfless job, answering phones in a cubicle for the Lower Manhattan Development Corporation post-9/11. Like bleak shades of Charlotte, Miranda, and Samantha, her crummy friends from college torment her over tedious Cobb salad lunches, bragging about the money they make and the professional coups they score, pausing only to scream into cell phones at beleaguered assistants. A failed novelist, Julie also wants something to do, something more, something bigger for herself to give her purpose, an important project to complete -- because, in her mind, she's never been much good at that, the finishing of things.

The film doesn't sufficiently sell Julie's decision to blog about cooking her way through Child's celebrated book. That on-screen moment is weak, her impetus glossed over like ripples in a cake's frosting. Once Julie gets going, her resolve blossoms into a slightly creepy, worshipful obsession. Julia becomes her imaginary friend, a beacon guiding her through recipe after recipe, challenge after challenge, building and shaping her confidence. I start to become concerned when she dresses up like Child for her 30th birthday party, standing smartly before the gathered company, practically saluting, looking a little like a girl scout pretending to be a totalitarian dictator. She's mean to her husband, a sweet, easy-going guy with little cinematic heft. In a nod to gender roles, he kills lobsters when her hand falters, and willingly suffers through indigestion and his wife's marked disinterest in sex. Again and again, he tries to understand as she flies off the handle, frenzied and emotional, whenever a recipe goes wrong, when she's too whacked on gimlets to hear the timer, or, most memorably, when a stuffed chicken slides awkwardly off the kitchen counter and plummets to the floor in a heap of translucent muck, bone, and splattered forcemeat.

Slightly creepy, right?

This movie is about women's lives in transition, journeys unfolding across unfamiliar terrain. Even though food is not overly sensualized here, tastes only rarely poured over and described rapturously and richly, it's a movie dependent on the power of food, not just to galvanize our appetites and inspire the actors, but to spur on the characters they inhabit, to drive the narrative. In Julie's case, her love of food merely flickers in comparison with her pressing compulsion to broil, stew, and steam her way through the book, for the sake of the blog. When Julia cooks, she's on a journey in a purer sense, without a fixed deadline, only fretting over the fruits of her labor once they've slid into view. Cooking is passion for her, as wild and satisfying as sex, to which she doesn't hesitate to draw parallels. "These damn things are as hot as a stiff cock," she bursts out giddily in Streep's best Child-ese, as she juggles a piping hot cannelloni. At both discoveries, her joy bubbles over in ribald exaltation, whereas Julie, while acknowledging Child's chronicled passion, both in the kitchen and with Paul, the "butter to [her] bread", is too busy counting down the chapters to approach her journey with a similarly holistic vigor.

I didn't love the movie, but it was wonderful to see Child rendered so Child-like by a great actress, especially pre-fame, many decades away from becoming the quirky, charming old lady I grew up watching spar with Jacques Pepin every Saturday morning. By comparison, the Julie sequences sink like leaden quenelles. They simply prove a point: in this story, or gathering of stories, recipes are vessels. Over the course of the film, three different characters -- Julie, Julia, and Judith Jones, Child's first publisher -- make boeuf bourguignon. The same recipe comes to life in different kitchens, under different circumstances. Everyone who cooks it owns a memory of it; each individual effort passing through the recipe as if it were a conduit of experience. As many millions of cookbook owners can attest, Julia Child, or more accurately, what she represents, is a moveable feast. "I have conversations with her when I cook," says Julie, and she's right. Following a recipe is like having a conversation with convention across time and, maybe, depending on how crazy you are, the person who devised it. Like aspics, recipes can be shaky propositions; they're not infallible. For a variety of reasons, they don't always work the way they're supposed to; they require the flexibility, improvisation, and intuition only continued evolution through personal experience can provide.

Julie despairs when, on the precipice of major media triumph, she finds out the real Julia, not the clucking, whisk-brandishing fairy toque-mother of her fantasies, thinks less than highly of her blog. I'm not surprised; the idea of blogging alone probably couldn't bridge that multi-generational gap, though Child's purported sentiment has been echoed, unjustly or not, by many of Julie's blogger contemporaries. In the movie, Julie describes blogging as "yelling into the void." She goes from wondering if anyone is reading at all to worrying about what to write because so many people are reading. "Julie & Julia" is the first movie I've seen with a built-in blogging debate: are people who share their personal lives online inherently narcissistic and self-indulgent? Are they disingenuous? Are they presumptuous, like some stuffy twit way back in the pre-Internet era, dutifully keeping a diary with the idea it'll later be pored over by fascinated contributors to the New York Review of Books?

What if Julia Child had fallen for Chinese food when she lived there just a few years before moving to Paris? Would American housewives have had to come to terms with "Mastering the Art of Mandarin Cooking," "Handling Hunan," or "Szechuan From Scratch"? Might Julie be a directionless, dissatisfied San Franciscan, sequestered in the far reaches of the Richmond District, dashing down Clement Street in search of exotic ingredients, pondering Child's secrets to a sublime Shanghai soup dumpling?

That's another blog for another day.

Cloudy with a Chance of Meatballs -- a movie based on the children's book of the same name by Judi and Ron Barrett -- might very well be the next Ratatouille for mini foodies and their parents.

I don't think they'll be calling in Thomas Keller for a culinary consult, but I do know that Cloudy... is one of my husband's favorite childhood books, and I think a movie treatment is genius. I was initially a little nervous to hear the movie wasn't coming from Pixar. However, after watching the Sony trailer, my nerves are totally dispelled, and I can't wait to see it.

Clearly, it won't be exactly like the book. In fact, it appears the writers used the book more as a jumping off point rather than copying it verbatim, which makes sense because the book is really just a grandfather regaling his grandchildren with stories about a town that would easily beat out San Francisco and New York for best eating.

The movie takes this concept a step further by inventing individual characters, like Flint Lockwood -- the inventor who is responsible for turning his town into a culinary mecca with all sorts of foodstuffs falling from the sky -- and other townspeople, who get caught up in the euphoria and insanity of experiencing manna in a non-biblical sense.

Cloudy with a Chance of Meatballs is due out September 18th, but in the meantime, all this talk of meatballs has gotten me hungry, so here's a roundup of my five favorite meatballs in the Bay Area. You might want to think about dining at one or all before seeing the movie to combat any meatball envy you're sure to experience during the movie. Better yet, see if you can sneak some meatball action into the theatre with you.

A16
Meatballs available only on Mondays.

2355 Chestnut Street
San Francisco, CA

Mayfield Cafe and Bakery
Wood-oven baked meatballs available from the lunch menu.

Town & Country Village
855 El Camino Real
Palo Alto, CA

Pizzeria Delfina
Neapoletan meatballs in sugo only at their California Street location.

2406 California Street
San Francisco, CA

Beretta
Meatballs in a spicy tomato sauce available from their antipasti menu.

1199 Valencia Street
San Francisco, CA

Saigon Sandwich
The vietnamese meatball sandwich -- bánh mì -- is a perfect storm of flavors.

560 Larkin St
San Francisco, CA

If you want to make your own meatballs, I've found that the recipe Simply Recipes adapted from A16's original to be quite wonderful.

Finally, no piece about meatballs could go by without this little delight:

Last month, Senate Majority Leader Dean Florez, an outspoken leader on food safety and animal rights, hosted a special screening of the documentary, FOOD, INC. for a roomful of legislators in Sacramento. Thanks to a friend who works at the capitol, I was able to sneak in. It'd been a very long time since I've been surrounded by that many people wearing suits, and discussing public policy is not one of my favorite ways to make small talk (SBX2 3 or SB 135, anyone?). But seeing this important film with a roomful of legislators who were excited about sustainable food and who could actually institute change was one of the most powerful experiences I've had in a movie theatre.

You will soon be hearing a lot about FOOD, INC., a documentary directed by Robert Kenner, winner of both a Peabody and an Emmy for his previous film, Two Days in October. Opening in San Francisco on June 12, this latest release by Magnolia Pictures tackles the unenviable job of educating consumers about the agricultural industry. It's being called the Inconvenient Truth of the food world, and the quality of its production certainly compares well. Super-saturated colors, animation, engaging graphics, a sprinkling of humor to lighten its distillation of immense amounts of information, and a line-up of articulate, passionate speakers all meld into a highly viewable documentary.

Eric Schlosser, co-producer, and Michael Pollan, both ground the film with their journalistic approach. The soundtrack, with its ominous rumbling beneath mass production and the folksy guitar accompanying underdogs, manages to reveal the film's underlying stance, but FOOD, INC. strives admirably to present multiple views. Of course, that's a challenge when corporations refuse to take part in the conversation. (Monsanto, Tyson and many others declined to appear in the film.) The film offers a surprisingly evenhanded treatment of Walmart executives accompanied by Gary Hirshberg, CEO of Stonyfield Farm. Even more, rock stars of the sustainable food world, such as self-proclaimed grass farmer, Joel Salatin, inadvertently reveal the gray areas of their own much praised business models. After all, how sustainable are loyal customers who drive 400 miles to buy happy, healthy meat?

As someone who has visited feeding lots and blood-slicked slaughterhouses, once worked a very long day in a chicken processing facility, and still wrestles with her decision to continue eating meat, I attended the screening expecting another sermon for the converted. When one of the press contacts reminded me to use all caps whenever I referred to the title of film, I concentrated very hard not to roll my eyes. Yet I there I sat later, stunned by what I was learning.

There's Barbara Kowalcyk, a lifelong Republican who dedicated her life to changing food safety standards after her son died from eating a hamburger contaminated with E. coli and who now refuses to reveal what she eats for fear of being sued by the meat industry. (She doesn't have as much money for a legal team as Oprah does.) There's the fleet of Monsanto "private investigators" who knock on uncooperative farmers' doors to threaten, ever so politely and quietly, to put them out of business forever. There's the seed cleaner ruined for providing non-GMO seeds to his neighbors...and the deals struck by employers of undocumented workers with the border police…and the $18,000 that an average chicken farmer makes for a year of hard work...

But there's also the woman willing to lose her contract with Tyson in order to shed light on an oppressive industry, the farmers banding together, and the scores of other individuals in the film who are working to make a difference in ways both huge and small. It'd be an overstatement to say FOOD, INC. is optimistic, but it does end with some modest suggestions for what each viewer can do to help move us toward a safe, sustainable system. More importantly, its wider release will, like the Obamas' garden, help push the topic to center stage for the public and policymakers alike.

Anyone who needs a good, clear primer on the food industry and the state of agriculture in the U.S should see this documentary. If you're already well versed or long converted, it's an important film to see and discuss with others -- your mom who is addicted to the big box stores, your friends who aren’t convinced that local or organic is worth the extra effort, or your children who have a full life of choices ahead.

For as the film reminds us repeatedly, we cast our vote every time we eat.

The Garden is a documentary film about the life and death of a community garden in Los Angeles. After the 1992 Rodney King riots which fractured the South Central Los Angeles community, the City of Los Angeles allotted a 14-acre piece of property to the community, allowing them to create farm plots for 347 families on the corner of 41st and Alameda (two miles from the location of my grandfather's restaurant). The creation of this garden made it the largest community garden in the United States.

In 2003, after the garden had been in existence for eleven years, the City sold the property to Ralph Horowitz in a secret deal, and the new owner attempted to evict the farmers. The battle went back and forth for several years before the farm was bulldozed in a dramatic action in 2006. I am simplifying this story greatly -- it involves backroom deals, corruption, the promise of a soccer field, infighting among the farmers, inexplicable court decisions, celebrities helping to save the farm and a furious rant by the landowner who ultimately refused to sell the property to the farmers at any price.

And interspersed between all of the drama to protect this property, we see a beautiful, peaceful garden where the families grow bananas, papayas, guavas, nopales, cilantro, and many other crops for their families. It's calm among the chaos that creates a perfect foil for this story.

I can't remember the last time I was so affected by a scene in a movie as I was watching the scene where the garden was destroyed after the final eviction notice was served. In front of the eyes of the farmers who had worked the land for 14 years, after innumerable fights, the garden was destroyed. Ralph Horowitz has not developed the land, and as of the time of movie publication it was still a vacant lot.

The community that developed around the garden is still going strong -- they are looking for land in the area, and have started an 80-acre farm in Bakersfield that sells to Southern California farmers markets, and provides a CSA for local customers.

I highly recommend seeing this film while it's in theaters, and I hope that it gets a wider release. The Garden is now playing at the Landmark Lumiere in San Francisco and the Elmwood Theatre in Berkeley.

Other resources:
The Garden on Facebook
Huffington Post interview with the Director
Chicago Tribune profile

I've been spending entirely too much time watching episodes of The French Chef with Julia Child that my friend Craig gave me.

I find Mrs. Child oddly hypnotic. There is something about her uniquely-accented voice and the not-entirely graceful movement of her formerly 6' 2" body that compels me to watch her.

And watch her I do. Over and over again.

This week, I've been enjoying an early, black and white episode wherein she gives a champagne and coffee party in honor of:

"...the Queen of Sheba, which turns out to be this dark beauty, made of chocolate, and almonds, and rum, and butter!"

She then invites us into her kitchen where she promises we'll make:

"the best chocolate cake you ever put in your mouth."

That's one heavy promise, but I love her enthusiasm.

I decided to put my money where Mrs. Child's mouth is and examine this cake and the woman behind it, however superficially.

And one or two other things, of course.

First, there is the name:
The Queen of Sheba

The legend of the Queen of Sheba can be found in both the Old Testament and the Qur'an. As a polytheist monarch of tremendous wealth and wisdom, she was intrigued by King Solomon of Israel, who was famous for his own wealth and wisdom, plus the odd little fact that he and his people worshipped only one god (1 Kings 10:1-13). She set off to visit him, laden with spices, gold, jewels, and a series of riddles to test his alleged wisdom. She was more or less awed by him, and he rather impressed with her. She returned to her southern Kingdom with "all that her heart desired", including a new, solitary god.

Despite what the vampy costume of Betty Blythe might suggest in her 1921 epic The Queen of Sheba, most accounts suggest that the relationship between Solomon and herself were of a respectful, intellectual nature.

Most.

Unless you choose to believe the Ethiopians. They claim her as their own. In fact, the legitimacy of their nearly 3,000-year, dynasty was founded on the belief that Solomon gave her slightly more than gold and jewelry as a parting gift.

Whatever you choose to believe, it is clear why the "best chocolate cake you ever put in your mouth" was named after her-- she was dark, rich, and sophisticated. A queen fit for the queen of cakes.

Of course, I couldn't end it there. Not with Oscar season around the corner. Nor an obvious tangent staring me in the face.

Come Back, Little Sheba

One of the few vintage, Oscar-winning performances I have yet to see is that of Miss Shirley Booth's turn as Lola Delaney in Comeback, Little Sheba from 1952. The dowdy, shuffling, and unambitious Lola and her husband "Doc" (played by Burt Lancaster) are 20 years into a loveless, shotgun marriage. The baby was lost and both find comfort in their own particular ways; he with alcohol, she with a little dog named "Sheba" on whom she lavishes all of her attention until it runs away from her, most likely from fear of emotional smothering.

And that's before the film even begins. I won't give the rest of the plot away, most likely since I have no idea what happens next. I'm hoping it's some kind of sex comedy, but my hopes aren't aimed too high, since films about deep regret and personal failings aren't generally funny. Or sexy.

In stretching the limits of credibility, I have begun to think of this cake as somewhat appropriately linked to this film. Both are reportedly richly-layered, slightly crestfallen, alcoholic, and a bit nutty.

Almonds, you know.

Which leads to a warning to keep one's logical stream-of-consciousness in check. Miss Booth may have won the Academy Award for her performance in Come Back, Little Sheba, but her biggest success came later as the star of the popular 1960's situation comedy Hazel, in which she played the title role of a dictatorial-yet-endearing live-in housemaid.

Though critics have complained that the show was contrived and only "mildly amusing," Hazel does have her die-hard fans, who are referred to as "hazelnuts." Irritating, certainly.

The evident danger here is heaping too much honor upon Miss Booth by substituting the above-mentioned nuts for the traditional almonds, but that would be another cake entirely.

Little Shebas

I still intend to honor Miss Booth. Or at least the dog who had sense enough to run away from her emotionally-starved owner by making this major player in the classic repretoire of chocolate desserts into a minor figure size-wise, while still keeping the integrity of the classic recipe.

I have omitted the chocolate glaze used by many recipes, including Julia Child's. I simply think it's gilding an already-perfect lily. Oh, and I'm lazy. It is a rich cake, with a slightly gooey, warm center. More chocolate only makes it heavier. Still, I think it is a cake that would make its ancient namesake proud.

I doubt very much that Lola Delaney would have either the emotional wherewith all or even the equipment to make one herself, but Hazel would certainly find it easy to whip up for Mr. B when she wasn't busy whipping the rest of his family into shape. And , chocolate glaze or no, I think Mrs. Child would still enjoy putting one in her mouth.

Sadly, this is not as popular a cake as it used to be. Chocolate trends of the past several years have lead to denser, darker, more chocolaty, chocolate cakes. The virtue of this cake is it's balance of chocolate and nuttiness, with just a hint of rum underneath. As befitting a queen, it demands respect by virtue of its subtle complexity rather than by beating the palate with her sceptre. And that's all too bad because I think this little Sheba is definitely ready for a comeback.

The following will make one large Reine de Saba in an 8-inch cake pan, or make six petite versions in a large (3 1/2-inch diameter) muffin tin. Comme tu veux.

Ingredients:

4 oz semi-sweet chocolate (bittersweet may be used, but I'm going the Child route here)
2 tablespoons rum or coffee
1/4 lb butter at room temperature
2/3 cup plus 2 tablespoons sugar
3 egg, separated
2/3 cup finely ground almonds
1/4 tsp cream of tartar
1/4 tsp almond extract
1/2 cup cake flour, measured then sifted
one good pinch of salt

Preparation:

Pre-heat oven to 350F and place rack in the middle.

1. Melt the chocolate and rum or coffee (choose your poison) in a pot set over simmering (not boiling, please) water, stirring to combine. Cover, turn off heat, and leave alone. You'll come back to it later and it isn't going anywhere. Cream the butter and 2/3 cup sugar together until pale yellow and fluffy. Beat in the egg yolks until paler and even fluffier than before. Add almond extract.

2. In a separate bowl, beat the egg whites on low-to-medium until foamy, then increase speed as you like, adding 1 tablespoon of sugar and 1/4 teaspoon cream of tartar until soft peaks form.

3. Return to your melted chocolate and give her a little stir. The consistency should be somewhat satiny and fluid. Beat in a bit of butter/yolk mixture at a time, stirring constantly so the yolks do not curdle. Repeat until all is one.

4. Combine almond meal, flour, and salt. Now add this dry mixture to your chocolate goo, incorporating bits at a time. When this has been accomplished, gently fold in egg whites, starting with about 1/2 a cup and working the rest in ever so skillfully.

5. Immediately set to placing about 1/2 cup of your batter into each of the six muffin tins. Give her a good, hard bang or two on your kitchen counter to level and remove any bubbles in the batter. Bake for 12 minutes, then begin to peek into your oven obsessively until finished. A pale, chocolatey crust should form, but the cakes shold jiggle a wee bit, too. Ideally, a toothpick inserted about an inch from the edges should come out dry, but one poked into the center should not. When this has been acheived, remove from oven and let cool for, oh, I don't know, let's say an hour, because you've got other things to do. When ready to remove from pan, run a sharp knife around the edges of the cakes, invert onto a tray, and you're done.

Not exactly. At this point, you may either top them with a chocolate glaze or simply dust them with powdered sugar.

Serve them to friends at your upcoming Oscar party, or just feed them to your pets and watch their little hearts explode from the chocolate.

There has always been a special place in my heart for the Negroni. Not always. I stayed away from them in elementary school, naturally. I don't think I even tried my first until well into my twenties. And I'm not quite certain I liked it then.

But I liked the idea of the Negroni. It was and is a sophisticated, world-weary drink-- one with Italian origins and bitter complexity, yet remarkably, charmingly straight forward. It is not a drink that should be knocked back like whiskey, nor can it be co-opted or diluted with other ingredients and still be called by its proper name. It is the sum of its equal, co-dependent parts: gin, sweet vermouth, and Campari. It must be savored and considered.

If a person could model one's self after a cocktail, I knew that the Negroni was exactly what I wanted to be when I grew up, so I kept trying. So far, so good, and with minimal damage to my liver.

The Negroni doesn't have the wide appeal of the Martini or even the Manhattan, which is, in my case, precisely the point. It isn't necessarily an exclusive drink, but it does attract discriminating drinkers. They know who they are.

Or, at least, quickly find out who they are not.

For example, several years ago, some co-workers and I took a new server out one afternoon for a drink at a place around the corner from our restaurant. It was a warm day, so we decided to sit outside at some little tables on the sidewalk, have a smoke, and get to know our new little friend over a drink or two.

My friend Greg was managing that day, so he came around to have a chat and took our drink order while he was at it. We, all of us, called for Negronis. When he asked the new girl if she would like one as well, she spoke these precious words:

"Um, sure. I'll have a nigg--oni, too."

Then came the long, extremely uncomfortable silence made all the worse by the fact that she said this to a black man. If looks were hunting knives, she would have been flayed alive by everyone present. What made it all the more surprising was that she hadn't the slightest idea what she had just said. Greg generously attributed her utterance to poor Italian pronunciation, which is more than the rest of us allowed her.

And, after all that discomfort, she told us she didn't like her Negroni and sent it back to be replaced by a sweet, vodka-based drink. When she got up to use the restroom, one of our party re-christened her "Chili's" because he felt she might be much more at home working there than with us. The name stuck around for about as long as she did. That drink we bought her as a welcome ended up being her departing gift, too, since that's precisely what she did shortly after.

Apart from its cachet of clique, what I love most about the Negroni is that it is deliciously louche. It hints at danger and moral decay more precisely than any other drink, save Absinthe. Just ask Tennessee Williams. Or don't, since he's dead. Rather, watch Lotte Lenya*, Warren Beatty, and Vivien Leigh drink them in The Roman Spring of Mrs. Stone and enjoy the ensuing destruction. They weren't exactly good for Mrs. Stone, nor were they especially good for Mr. Beatty's awful Italian accent, but they certainly helped to lubricate the plot. (*After searching for a video clip from the film, I stumbled upon an article by Toby Cecchini in the New York Times referring to Lotte Lenya as, well, louche. It must be true. For a wonderful description of the drink and its components, read the article Shaken And Stirred; Dressing Italian.)

There is a time and a place for the Negroni. Swank apartments at midnight, dimly lit trysting places at any time of day, on the sly in a toney sanitarium-- appropriate situations, all of them. Never, under any circumstances are they to be drunk over a quick lunch with your parents or-- and I speak from personal experience-- are they to be ordered in the jungle borderlands between Brazil and Argentina. Especially if there is a strong language barrier between you and the bartender who only knows caipirinhas. I don't care if there is a casino on the premises, it is to be avoided.

The Classic Negroni

The cocktail owes its name and its existence to one Count Camillo Negroni of Florence, Italy. According to Eric Felten's enjoyable read, How's Your Drink?, Negroni's preferred drink at the Caffé Casoni was the Americano, an admixture of Campari, Cinzano, and club soda. One day, he asked the bartender, Fosco Scarselli, to fortify his drink with gin. The cocktail was an unqualified success and its intake spread first around the city, then the world.

Ingredients:

Makes one Negroni

1 ounce good gin. Please do not stint.

1 ounce Cinzano Rosso vermouth

1 ounce Campari.

Ice cubes, preferably made from Italian spring water. Or tap, depending.

Orange peel or slice for garnish

Preparation:

Into a cocktail shaker, add all ingredients except the orange. Shake or stir, according to your own preference. Strain into chilled cocktail class. Garnish with orange.

Sit back, and enjoy the ensuing existential train wreck.

As an added bonus, while I'm on the topic of train wrecks, enjoy a clip from a famous television personality I would never in a million years expect to see drinking a Negroni. In my opinion, she doesn't get it quite right, just pouring everything over the rocks without proper mixing as she does. Then again, she does only have 30 minutes to make an entire meal.

Enjoy.