King Georges: A Possibly Tasty Movie Review

On our way to dinner at The Broad Axe Tavern on a recent Friday night I told my wife Sandy about the approach, since abandoned, that I might take in writing the article you currently are reading. It was to be a comparison of dinner at The Broad Axe with what my opinion would have been, had I ever eaten there, of dinner at Le Bec-Fin, a famous, majestic and now-closed French restaurant in Philadelphia. All of this made possible sense because the movie that Sandy and I were headed to later that evening in suburban Philadelphia was King Georges, a documentary about the last few years (2010 to 2012) of Chef Georges Perrier’s involvement with Le Bec-Fin, which he opened in 1970.

Yup, I had thought that my culinary tastes and scrutinies would make for way cooler reading than a review of King Georges. And, dope that I tend to be, I was quite certain about what my conclusion would be, even before seeing King Georges. Namely, that I’d prefer to eat at The Broad Axe than at fancy-schmancy Le Bec-Fin. Broad Axe food I understand. It’s good for the most part and you don’t need a translator to figure out what’s what. Le Bec-Fin’s fare, which I had read about for decades, would have intimidated me. That’s because I knew and still know diddly-squat about high-level French cuisine.

We saw King Georges at the Ambler Theater.
We saw King Georges at the Ambler Theater.

But after watching King Georges I did an about-face. Who cares about my food preferences when a terrific piece of filmmaking is at hand? Clear the way! Movie review, here I come! And by the way, I should have given pricey LBF at least one spin during its lifetime. I’d have parted with some serious cash, but the meal and the experience would have been worth it. I hadn’t because I was a culinary coward.

Sure, the food looks great in King Georges. But that’s not the reason to see the movie, as food isn’t primarily what it’s all about. What we have here is a vibrant look at a pretty complicated guy. King Georges is filmed mostly in close-up and often in tight quarters, Le Bec-Fin’s kitchens, and reveals an extremely colorful and self-driven character as he wrestles with the reality that his famed and celebrated baby, LBF, ain’t the destination that it once had been. And that maintaining his customer base is hard and ultimately maybe not possible. What’s a top chef to do? In Georges Perrier’s case, keep on truckin’ and truckin’ until . . .

King Georges 2 IMG_1269
King Georges shows Perrier as a sometimes-crazed dynamo in the kitchen, his senses aware of what’s going on in every pot and pan attended to by the small army of chefs under his command at LBF. He rants and raves. He praises and hugs. He includes sh–t and/or fu–k in half the sentences that pour from his mouth. He’s a pip, a perfectionist, an incredibly hard worker who seems to have gotten no more than a handful of hours of sleep nightly for forty-plus years. How can you not love someone like this? I mean, he cares. Born and raised in France, he came to the USA in the mid 1960s hoping to own, cook for and run one of the best restaurants in the States. All of which he ended up doing for years and years. And he became a celebrity of sorts in the process, a big name in certain circles around the globe, eons before the likes of chefs/restaurateurs Emeril Lagasse, Bobby Flay and Mario Batali became media fixtures.

During the last few years, though, Georges Perrier hasn’t been too visible. Whom, then, do we have to thank for bringing him to our eyes and ears in 2016? None other than Erika Frankel, she whom neither you nor I ever heard of before. Frankel has earned her keep producing documentaries and other works since the early 2000s but, before King Georges, never had donned a director’s cap. How did she manage to handle the job so well? Maybe it was beginner’s luck. Probably it was innate talent. Whatever, having a charismatic figure to make a movie about didn’t hurt.

You know, writing this article has made me hungry. I’m going to head into the kitchen and labor over one of my exotic specialties, a grilled cheese sandwich. I’m sure that Chef Perrier would approve of my sandwich-flipping technique, the precise and practiced manner in which my right wrist rotates just so. Before I say goodbye, however, let me mention that King Georges isn’t making waves at the box office. In fact, Sandy and I were lucky to see it in a theater, because nationally only a single digits number of cinemas are showing it. But happily for the inhabitants of our planet, King Georges is obtainable via Amazon Prime and other online operations. Be it at a theater, or more likely in the comfort of your home, here’s your chance to be the first on your block to watch King Georges. Take it from me, kids. I think you’ll like it.

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(Photos by Sandra Cherrey Scheinin. If you click on a photo, a larger image will open)

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A Philadelphia Saturday Night

Our plans for a recent Saturday evening came together quickly. Flipping through a newspaper we (my wife Sandy and I) saw a review of a play titled Spine. The play sounded good. Its theater was in Philadelphia’s central section, easy for us to reach from our home in the burbs. OK, Spine it would be. Deciding to have pre-show dinner near the theater, we looked for an eatery where we’d never been before. We clicked here and there on OpenTable and settled on Franky Bradley’s, a place we knew little about. A handful of hours later we arrived at FB’s at the appointed time, 6:15 PM, and the night began.

Some Philadelphians will recall Franky Bradley’s when it was a steakhouse and celebrity hangout and its first name was spelled Frankie. That was decades ago. In its most recent incarnation the place was a gay bar. Last year a new owner turned the property into a restaurant/bar/dance club, resurrecting the name (save for the spelling change) but nothing much else from the original FB’s. Only one steak is on the menu and I doubt if Franky’s is a celebrity hang.

Inside Franky Bradley's.
Inside Franky Bradley’s.

It’s a two-story establishment. A  music room cum bar occupies floor number two. That’s where late night DJ and dancing action takes place. Sandy and I took up a little bit of space on the ground level. There, dark wood tables and booths fill up the square footage not occupied by a large bar, and the walls are covered with wood carvings, a potpourri of signs and with moody, sensual oil paintings. We sat at a peripheral table. It gave us a good view of much of the room. The lights were low, the noise level high, the waitstaff young and friendly. Recorded music from the 1970s (David Bowie, disco tunes) swirled through the air. The place was mobbed, mostly with an under-40 crowd. Tucked away on narrow way-off-the-beaten-path Chancellor Street (1320 is the address), Franky Bradley’s seemed to be a hit, a destination. From my perspective here’s the deal: Sandy and I loved our meal there. And the vibes were a gas, you dig?

Bradley’s keeps the number of beverage and food selections on the modest side, which seems like a good idea to me. Man, this world is cluttered enough as it is. You could do a lot worse than ordering what we had. Liquid-wise, a toasty beer for me, Ellie’s Brown Ale from the Avery Brewing Company. And, for Sandy, a semi-dry and citrusy Spanish white wine that rocked, an Albarino (2013) from Ramon Bilbao vineyards.

Bottom plate: Arctic char with warm lentil salad and orange slices. Top plate: Ditto.
Bottom plate: Arctic char with warm lentil salad and orange slices. Top plate: Ditto.

Solid-wise, we shared a house salad built from powerful purple onions, three or four types of greens and a Banyuls vinaigrette dressing. “Banyuls?” you ask? Right, I hadn’t a clue either. But it was damn tasty. A minute ago I peered at a foodie’s website and learned that Banyuls vinegar is made from fancy grapes. I shoulda known. For entrées we each ordered pan-seared Arctic char, a thin fish that came out moist, just-right salty and just-right charred. The fish shared plate space with warm lentil salad and orange slices. I’m a sucker for a good lentil salad. In this case, cubed beets and diced carrots and peppers said hello to one another and to the lentils just the way I was hoping they would. Wouldn’t have minded staying at Franky Bradley’s for a couple more hours, testing the desserts, knocking back another Ellie’s or two. But Spine awaited.

A few moments before Spine began.
Ten minutes before Spine began.

Spine (running through March 6) is a 70 minute monologue first performed in 2014 in Scotland at the Edinburgh Fringe Festival. Its British author, Clara Brennan, probably is a rising star. Philadelphia’s Inis Nua Theatre Company has staged Spine’s first American production in the smaller (about 75 seats) of two new theaters created within the Drake apartment building (1512 Spruce Street) earlier this year. There’s no intermission, so visiting the loo pre-show ain’t a bad idea.

If I’m sure about anything, it’s that Spine is a whirlwind of words, a rant at times, a collection of colorful tales all recited by Amy, a London teenager struggling to find her way. Amy is not in the education pipeline, can’t hold jobs, has messy relationships with family and friends and recently has become a petty criminal. But she’s no dummy and lacks not for energy. One day this wrong-side-of-the-tracks girl, looking for a room to rent, knocks on the door of a home, in a good part of London, owned by very elderly Glenda. Glenda, an advocate for social justice, takes a liking to Amy and over time gives her barrelsful of counsel.

What’s Spine about? It’s about a lot of things, maybe too many. Brennan takes aim at what she sees as damaging policies by Britain’s Cameron-led government, bemoaning social welfare program cutbacks and the closing of libraries. She believes that young folks like Amy institutionally are ignored and rendered powerless. She feels that the Amys of the world are being deprived of knowledge, but that they yet might come to understand their plights and change them for the better.

Whew, that’s a lot for a play to bite off. And a lot for politically and sociologically semi-conscious characters like me to digest. But let me say this: My attention didn’t waver watching Spine. Emily R. Johnson commanded the minimally-furnished set, bringing Amy fully to life and, by extension, Glenda. When the play ended I shook my head in disbelief. I mean, how does anyone do what Johnson did, spewing a non-stop avalanche of words without a stumble? How can anyone remember all those words? I have trouble remembering the name of the street I live on. Impressed? You bet your sweet bippy I was and am.

But sometimes there’s a but, and I have one. Johnson, a non-Brit, adopted a deep deep Cockney accent. I didn’t understand half the words she spoke. “Huhhh, what?” I said to myself so often I almost started babbling. Sandy had the same problem, even worse. If you didn’t grow up in a workingclass London neighborhood I’m guessing you’d decipher the language not much better than we did. I think that Spine’s director should have decided to soften the blows for Philadelphia’s audiences by toning down the accent. As usual, though, nobody asked for my advice.

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(Photos by Sandra Cherrey Scheinin. If you click on a photo, a larger image will open)

Two Million Cheez-Its And Counting

Circa 1970 one of the greatest culinary stories of my life took root: My infatuation with Cheez-It crackers. Just about everyone knows Cheez-Its. They are crunchy and salty one-inch squares, baked amalgams of cheese, wheat flour, paprika, etc.  Back then there probably was only one variety of Cheez-Its. The divine original in other words, the sort I stuck with through the years till recently switching to the Extra Toasty style. Today there are more than 25 Cheez-It types to choose from, including Whole Grain, Cheddar Jack and Mozzarella. They take up a whole lot of shelf space in most supermarkets, so clearly I’m not alone in loving Its. As we’ve been told, great minds think alike.

Cheez-It crackers in two of its many varieties.
Cheez-It crackers in two of their many varieties.

And you know what? I’ve eaten 2,000,000 Cheez-It crackers in my life, give or take a couple hundred thousand. That’s a lot of individual food items going down the gullet. Have I ever eaten more separate pieces of anything over the years? I’ve given this plenty of thought. Who wouldn’t? The only thing I can come up with is grains of rice. Maybe I’ve consumed more than 2,000,000 grains of rice. I’ll investigate that subject one of these days and let an anxious world know the results. But on with the current story.

Two million Cheez-Its. How did I arrive at that figure? It wasn’t easy. The question is deep. And so, at a loss for determining a calculation method, I started where most sensible people would start. That is, I got in touch with someone much smarter than me. I had been in phone contact with Dr. Vinnie Bubalinsky before. He’s head of the mathematics department at St. Louis Institute of Advanced Abstract And Profound Research. I had called him from out of the blue a year ago, explaining that I was wondering about angels gyrating, not dancing, on the head of the average pin. How many might fit there? Vinnie hadn’t a clue, had very little response at all to tell you the truth. I was glad to learn that tough questions don’t necessarily evoke glib answers.

The other day I dialed Vinnie’s number again and told him about my Cheez-It quandary. Vinnie remembered me. “What the f – – k’s wrong with you?” he asked. Patiently. “Get a life, you loser,” he added before ending our conversation. I would if I knew how.

I was on my own. I grabbed my favorite pen, a load of blank paper and a calculator. And I began to work out the numbers. Leave it to the Cheez-It manufacturer to make things difficult. I mean, for decades Its had come in an understandable size, a one pound package. That’s the same as 16 ounces I’ll mention to those of you who left school a long time ago. But in 2008 the Its maker downsized the box to 13.7 ounces, a strange number to be sure. And last year they did it again. The standard Cheez-It box now contains 12.4 ounces of product.

And if all that weren’t bad enough, I had to throw into the equation the fact that my Its consumption habits have changed over time. For years and years I would down three or four pounds of Its weekly. I easily could knock off a box while watching a baseball game on television. But those heights are a distant memory. In the early aughts my intake of Its dropped by half. And it has continued to shrink. For the last few years I’ve eaten about three-quarters of a pound per week.

The tools that I used for my daunting calculations.
The tools that I used for my daunting calculations.

OK. I sat at the dining room table for hours, scribbling, sweating, cursing, punching wildly at calculator keys. The basic fact that I always held onto came from the side panel of each Cheez-It box: Twenty-seven Its weigh 30 grams. And 30 grams, I found out elsewhere, are the same as about 1.1 ounces. Needless to say, progress was slow. But things eventually started to come together, to make sense. Two million Cheez-It crackers was the approximate number that I had chewed and swallowed, I finally concluded. I picked up the phone and dialed Vinnie Bubalinsky’s number, ready to gloat. But I hung up after one ring. He will read about my triumph soon enough, no doubt, on this page. Vinnie, some losers never quit.

I’d like to put my Its consumption in perspective. We all agree that 2,000,000 Cheez-It crackers are a massive amount. In fact, if you placed them edge-to-edge on a flat and straight-as-an-arrow highway, they would extend for 31.5 miles, a very sizeable distance. But wait . . . there’s something I hadn’t thought about: In a car you’d cover those miles in less than half an hour. And yet it took me 45 years to eat the crackers. What does this mean? That cars are about 1,000,000 times faster than the human mouth? That highways inherently are inappropriate places to place Cheez-Its? I really don’t know. I’m confused. I need help.

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(Photos by Sandra Cherrey Scheinin. If you click on a photo, a larger image will open)

Out And About In Fishtown

On a recent Friday night my wife Sandy and I went to dinner with our great pals, Liz and Rich. We dined in Al Dar, an atmospheric Mediterranean-cuisine bistro in Philadelphia’s western suburbs. As the four of us wolfed down lots of good stuff, Liz asked Sandy and me what we had on the agenda for the following day. Because the Philadelphia area was in the middle of an amazing December warm weather streak, any upcoming rain-free day would be a great one for outdoor exploration. “Maybe we’ll go to Fishtown,” Sandy said. And that’s what we did.

Fishtown is a Philadelphia neighborhood fairly near the city’s downtown sections. It is a maze of narrow streets, with a few big avenues running through, and for most of its existence has held a blue-collar reputation. Until a handful of years ago, Fishtown wasn’t somewhere you’d have had any particular reason to go to, unless you lived there. But times change, and sometimes for the better. Fishtown’s rowhouses and small single homes have found favor with millenials, hipsters, musicians. And with those fine folk have come cool bars and eateries and music venues. Fishtown now is on the map, though its goodly number of empty storefronts and how-do-they-stay-in-business businesses show that there’s plenty of climbing yet to do.

The 1300 block of East Eyre Street.
The 1300 block of East Eyre Street.
The 500 block of East Thompson Street.
The 500 block of East Thompson Street.

I like wandering on cute blocks, especially when they have nifty or unusual names. And Fishtown is full of those: Crease Street, Eyre Street, Shackamaxon Street. Yeah, Shackamaxon. I’d never heard of half the streets that Sandy and I stepped upon, which was just the way I like it. Gave me a sense of exploring the unknown. I saw that Fishtown’s byways are crammed with housing and commercial properties that, to my marginally-trained eye, looked to have been erected mostly between the mid 1800s and early 1900s. As with much of Philadelphia, the buildings usually rise no farther than three stories above ground level. And how about those bricks, a construction material that numbers in the gawd-knows-how-many trillions of units in Philadelphia. Fishtown’s share of that bounty must be at least twenty billion.

Fishtown's public library.
Fishtown’s public library.
Girard Avenue as seen from Eyre Street.
Girard Avenue as seen from Eyre Street.

It would take hours to see all of Fishtown, hours that Sandy and I didn’t have at hand. But we strolled around and I think got a halfway decent sense of what the neighborhood is all about. I was glad to see that Fishtown is kind of a small town unto itself. That’s been the case for at least 150 years, from what I’ve subsequently read. Look! A library. A police station. A rec center with a hockey rink. A wonderfully-domed Presbyterian church that has been in place since 1859. A bunch of pocket parks. Sharp, indeed! But the small town feel disappears when you venture off the residential blocks. On Girard Avenue, a major artery that bisects the area, the almost endless lengths of overhead wires are a gritty spider’s web and a quaint-yet-quintessential urban sight. And the traffic on Girard Avenue and Frankford Avenue at times is relentless.

Let’s move on to food and drink. Fishtown has become a player in Philadelphia’s emergence as a destination for foodies and/or craft beer aficionados. Kraftwork, East Girard Gastropub, Frankford Hall, Fette Sau, Interstate Draft House, Pizzeria Beddia (a take-out-only joint with no phone and a policy of baking only 40 pies per day. It gained instant fame when bon appétit magazine, incredibly, crowned its offerings earlier this year as the best pizza in the USA). Hey, if filling the gut and loosening the inhibitions are on your agenda, Fishtown’s as good a choice as any to do that in.

I peeked inside some of the above-named places, and others, on Girard Avenue. They looked great, but it wasn’t even 5:00 PM yet and I wasn’t ready for alcohol or food. Sandy and I earlier had decided that we needed to patronize, or at least ogle, what probably are Fishtown’s two most well-known spots, just to say that we’d been there. And thus we headed north on Frankford Avenue till we reached La Colombe Fishtown (1335 Frankford Avenue), the crown jewel of the La Colombe coffee empire.

Exterior of La Colombe Fishtown.
Exterior of La Colombe Fishtown.
Interior of La Colombe Fishtown.
Interior of La Colombe Fishtown.

LCF opened last year and it’s a thing of beauty, a Starbucks-on-steroids enterprise that was created out of a former warehouse. It’s comfortable and fashioned in the rustic chic mode. Dark wood floors go on forever. Exposed air system ductwork looms overhead. At the tables, customers nurse coffees, wines, beers, pastries and sandwiches for a long long time as they stare into their electronic devices or into each others’ eyes. And in the rear of the cavernous space is something I’d have been unable to anticipate in a million years. A rum distillery. Don’t ask me why, but the brains behind La Colombe had a jones for rum that had to be satisfied. The rum is for sale.

Sandy and I, though, kept things simple. We ordered ice coffees. Yes, we’re big spenders. They were strong and delicious. We stared into our devices and into each others’ eyes for awhile, and then hit the streets once again. It now was time for food and alcohol. Next stop was Fishtown’s biggest claim to fame.

Johnny Brenda’s (1201 Frankford Avenue) used to be an insular neighborhood bar. New owners took over in 2003. They installed good beers and good food, made nice with their Fishtown neighbors, and set in motion their visions of expanding JB’s audience. Johnny Brenda’s is widely credited as the catalyst for Fishtown’s renaissance. Things really began cooking in 2006, the year that JB’s brought live rock and roll to its upstairs quarters. Brenda’s has become a favorite place for local and touring rock bands. Sandy and I have yet to catch music at JB’s, but we’ve frequently talked with friends about doing that. One day soon we will.

Exterior of Johnny Brenda's.
Exterior of Johnny Brenda’s.
Interior of Johnny Brenda's
Interior of Johnny Brenda’s

JB’s is a friendly place. It has a pool table, local beers on tap, a nice selection of pub grub. And plenty of customers. Sandy and I grabbed a booth in the dining room. We ordered. Sandy’s Italian white wine was delicious. So was my Sly Fox porter. So were our burgers, hers made from beef, mine from vegetables. But before too long it was time to leave, as a movie, in another Philadelphia neighborhood, was on our evening’s schedule. We settled up and stepped outside. Daylight had disappeared 90 minutes earlier.  The air was cooling down. Groups of 20-somethings and 30-somethings were everywhere. We crossed the street, heading westward on Girard Avenue. But Sandy then suggested that we walk back to where we had just been so that we could get another good look at a resplendent neon palace: Joe’s Steaks + Soda Shop. Sandy took its picture. And we left Fishtown on a high note.

JoesSteaks IMG_0076
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(Photos by Sandra Cherrey Scheinin. If you click on a photo, a larger image will open)

A Meditation On Pizza

Pizza, pizza, pizza. For how long have you been a part of my life? Why do I adore you so? Have my feelings about you changed over the years? And most importantly, where the heck can I find really good examples of you? These are questions I am about to answer. They also are questions to which I will return in future articles on this blog.

Some people write about politics or religion or nanomechanics. I have yet to address those and other heady subjects, and probably never will. I don’t have the smarts for that. I’m not too sure I have the wattage to say anything dynamic about pizza either, for that matter. I’m a preschooler compared to the Einsteins out there whose knowledge of and insights into the world of pies are dazzling. But I’m not embarrassed to lay out some thoughts and observations. Take it away, Neil.

Pizza is my favorite food and has been for 40 or so years. I grew up on Long Island, and it was there in the early 1960s that my pizza habit began. The habit grew, and somewhere in the early 1970s became pretty well an obsession. I was living on Long Island for part of that decade, and in Manhattan and Philadelphia at other times. In all of those locales the pizza was similar. I, and I’m sure most people, didn’t spend a lot of time discussing pizza in those days. Basically, you ate it and you liked it. There were only two varieties back then, regular (a round pie that I suppose now would be referred to as New York style) and Sicilian (a square pie whose crust was thicker and chewier than the regular pie’s). You could get mushrooms or pepperoni with the former if that was your wont.

By the late 20th century though, pizza became a complicated subject with a nomenclature that I can’t keep straight. New York style, Chicago style, Neapolitan, Margherita, thin crust . . . on and on it goes. And then there’s the whole matter of toppings. We live in an age when figs, pineapple, you name it, are fair game to bake atop a pie. For ease of discussion I’m going to keep this essay focused on the type of pizza I like best, the humble round darling composed of crust, cheese and tomato sauce. No toppings.

In the 1970s regular pizza seemed a-ok to me. It was chewy and floppy, often heavily laden with cheese and tomato sauce and usually dripping with oil. That variety is alive and well to this day. Its top makers, such as Di Fara (in Brooklyn) are truly famed. I’ve never had a Di Fara slice, but I gather that that establishment has taken the regular (aka New York style) pie to a new level, probably by using higher quality ingredients than those I grew up with. I wish that Di Fara would open a branch near me. While I wait two or three millennia for that to happen, I’ll instead continue to visit a couple of places in the Philly burbs that make New York style pizza similar to what I devoured years ago. The quality varies from visit to visit at these parlors, but I can’t complain too much. I like their wares fairly well overall, though I now have better alternatives.

There’s something about pizza that strikes a chord with my elemental self. It’s not a fussy or complicated product. The three main components seemingly were created to join blissfully together to make taste buds swoon. But as I’ve learned over the last 20 years, a great gastronomic marriage can become even greater. In other words, pizzas better than those I knew in my youth and middle age exist in this world. Di Fara’s baby is an example. In the USA, pizzas have reached rarified heights of deliciousness.

I’m not talking about all pizzas by any means. Most American pies still are very ordinary, maybe way too heavy on the cheese or cursed with a cardboard crust or hampered by an indifferent tomato sauce. However, new pizza orientations have taken hold in many establishments, and the one I’m especially all for is this: Thinner and charred crust. High quality cheeses and tomato sauce in balanced proportions. Oil in moderation, not cascading from each slice like a waterfall. This is not New York style pizza, though I’m a bit uncertain as to the name(s) it has been given by the pizza intelligentsia.

The above paragraphs are a long lead-in to my recent visit to Anthony’s Coal Fired Pizza, a chain with a branch in Horsham, PA, not far from my home. My wife Sandy and I dropped in on a hot August Saturday night. We’d been there before, each previous visit knocking our socks off. I know of a few places in Philadelphia with pizzas that match my updated criteria for excellence. In the burbs, Anthony’s is the one and only that I’ve discovered.

Our lovely salad at Anthony's Coal Fired Pizza.
Our lovely Italian salad at Anthony’s Coal Fired Pizza.

Anthony’s has a small menu. I’d guess that pretty much everything on it is swell. Sandy and I, though, have had only the Italian salad and what Anthony’s calls its traditional pizza. Both are so good we order them again and again. The other night the salad was fine as usual. Crisp lettuce, chick peas, tomato and hard boiled egg wedges, all glazed with a tart light vinaigrette dressing. Simple and satisfying.

Our majestic pizza pie at Anthony's.
Our majestic pizza pie at Anthony’s.

The pizza came on a flat wood throne. Visually the pie was beautiful — you have to love those darkened areas, the basic color palette. Tastewise, beautiful too. The cheeses, mozzarella and romano, were earthy, the plum tomato sauce bright and lively. And the crust’s charcoal bite brought me joy. I’m an easy guy to please, given the right circumstances. At Anthony’s I was a happy eater. Good salad and superb pizza. And a hoppy brew to wash them both down, Arcadia Brewing Company’s Cheap Date Pale Ale. There was nothing more I needed or desired.

I’ve previously written about Capofitto, a fine joint in Philadelphia serving up blackened soul-satisfying pies. I know that pizza greatness extends far beyond Capofitto and Anthony’s. Fussy me will continue to search for pizzas way above the pedestrian, and will report back now and then as I discover them.

(Photos by Sandra Cherrey Scheinin. If you click on a photo, a larger image will open)

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We Said “Cheese Please” At Iron Abbey

I’ve grumbled before on these pages about the paucity of loveliness in the townships that surround my suburban Philadelphia home base. Stuck in the middle of a large section of this haphazard overdevelopment is a place that I think is a-ok. Iron Abbey is its name, and beer and good food is its game. It is a gastropub. Location: Horsham, Pennsylvania. My wife Sandy and I ate dinner there recently. One part of the meal, a cheese plate of all things, particularly opened our minds and eyes.

Part of the scene at Iron Abbey.
Part of the scene at Iron Abbey.

Iron Abbey is a large establishment. Its dining areas and bar are on ground level where the look is woody and stoney rustic. Kind of like, who’d have guessed, an abbey. Upstairs are an espresso café and rooms filled with beers for takeout purchase. The beer rooms are wondrous, packed with microbrews, many obscure, from the corners of the globe. For this article, let’s stay on the ground floor, where the beer selections are no less mind-blowing.

Sandy doesn’t like beer. She is a wine lady. Unfortunately for her, Iron Abbey does not cater to wine-by-the-glass ladies or gents. Those selections are slim. The two Sauvignon Blanc choices were overpriced at $10.50, so Sandy, a white wine devotee, instead sipped an eight dollar glass of Cielo Pinot Grigio, direct from Italy. Sandy says she has had better. I took a sample and approved of its dryness but quickly decided its flavor could be richer.

Enough about wines. The Philadelphia region has become a haven for beer geeks, and Iron Abbey is a top example why. I spent five minutes poring over the beer menu. The choices were nearly endless, around 40 on tap and 250 in bottles and cans. The pressure was on. Twice I told our waitress that I needed more time to decide. On her third visit to the table I was too embarrassed to ask for another extension. Firestone Walker Easy Jack IPA I said, pointing it out on the menu’s draft beer section. With craft beers, one usually can’t go too wrong, so skilled have the world’s brewers become. My selection, birthed in sunny California, was proof. Bitter and hopped-up it was, as all good IPAs should be. One of the hops varieties in the recipe imparted a husky tinge of grapefruit flavor to the brew. I liked that a lot.

The best segment of the meal came next. Sandy and I were all set to bypass any starters and simply place our main course orders when I absentmindedly began to pay some attention to the menu section titled “The Board.” There, one may select from various cheeses and meats, all of which are accompanied by an eclectic mix of nibbly stuffs. Why not, we decided. When the waitress reappeared we picked two cheeses and sat back with our drinks. We’re not naïfs, but neither of us had ever before ordered a cheese plate at a restaurant.

The cheese board that we loved.
The cheese plate that we loved.

The cheese plate arrived and we couldn’t have had a better time. It came with salty olives, crunchy excellent French bread, fig and apricot jams, roasted Macadamia nuts,  pickled red onion slivers and membrillo. Yes, I hadn’t a clue either as to what membrillo is. Turns out that it is a firm soft paste made from quince pulp, sugar and water. Some post-Iron Abbey research told me it’s commonly found in Portugal, Spain and Italy. I caught what I thought were flavors from the apple and pear family. Quince, as additional research told me a little while ago, is indeed related to those fruits. Bottom line, the membrillo was delicious. The other accompaniments were too. As for the cheeses, we had selected  Ubriaco Classico from Italy and Ossau Iraty from France. As with membrillo, I’d never heard of either of those cheeses before. For the most part I’m a Kraft swiss and Cracker Barrel cheddar kind of guy. But I know there’s a world of cheeses out there to be explored. The Ubriaco was semisoft and hinted of wine and citrus. The Ossau Iraty was dense and dry and pungent. Sandy and I swooned over both of them and the bread and the nibbly stuffs. This was the most exciting platter of food we’d had in quite a while.

Crab cake entrée (top). Chicken burger (bottom).
Crab cake entrée (top). Chicken burger (bottom).

After the cheese extravaganza we’d have been happy to pay up and leave. We knew that it would overshadow the next course. Which it did. My grilled ground chicken burger, though, was awfully tasty, a comfort dish covered with melted Monterey Jack cheese and sautéed bits of red peppers and onion. The side salad I opted for in lieu of fries was fine too. Sandy’s crab cake entrée was done nicely. The grilled crab cake was charred outside, soft inside and good. Some extra doses of spices and flavorings wouldn’t have been a bad idea, though. It sat atop dreamy mashed potatoes, mushroom slices blended through. Blanched then sautéed itsy bitsy asparagus and carrot pieces, very flavorful, surrounded the mountain.

We had no room for dessert. We paid our bill and thanked our waitress, then squeezed past the crowds to the front door. Iron Abbey is a popular spot. Though it is by no means perfect, there are good reasons why it’s bustling.

(Photographs by Sandra Cherrey Scheinin. If you click on any photo, a larger image will open)

A Friday Frolic In Philly

My wife Sandy and I lived in Philadelphia for many years, both before we met and subsequently. The year 2005 was a momentous one for us, because that’s when we made the leap from the city to the nearby northern burbs. In some ways I prefer living where I now do, in other ways I wonder if leaving the city was a brilliant idea. Our house is nicer than the one we used to occupy, the current neighborhood is cuter than its predecessor. On the other hand, automobile traffic around here is as blood pressure-elevating as in Philadelphia. And there aren’t enough fun things for us to do, which is why we head south a few times each month to check out the offerings in various sections of the City Of Brotherly Love.

My overall opinion of Philadelphia is a good one. Yes, the city has plenty of problems, like too much crime and a pitiful public school system. And yet it has so much going for it. Loads of history that we all know or should know about. Great parks big and small. Fabulous buildings from the late 1600s onward. More restaurants, music venues, theaters and such than anyone could wish for. I’m sounding like someone from Philadelphia’s official tourism bureau, but my feelings are legitimate. For physical beauty, culture and food, Philadelphia is world-class.

Which brings us to Friday, July 3. Sandy and I were itching to get out of the house. Not much that we knew about was going on in the burbs. Philadelphia it would be. Where in the city though? Sandy had noticed in the paper that July 3 was First Friday in Philadelphia’s Old City section. We hadn’t been to a First Friday in a year or two, and we decided to go.

Old City's Church Street is paved with grey bricks.
Old City’s Church Street is paved with grey bricks. They contrast nicely with plastic recycling bins.

Old City is a part of town that was full of homes, businesses and people in Colonial days. It still is, and many of those 1700s structures are with us today. The area is quaint and often lively, and plenty of streets retain their ancient paving bricks and stones. There are quite a few art galleries in Old City. In 1991, attempting to lure customers and imbue Old City with needed panache, some gallery owners began keeping their doors open in the evening on the first Friday of each month. They spread the word and a monthly mini-festival, a kind of happening, was born. All over the world, events similar to First Friday are taking place. They can be good.

You never know what you’ll come across on Old City First Fridays. Painters and crafts people and assorted vendors set up tables for their wares on the sidewalks and in alleyways, which are also where musicians set up their instruments and wail. And many art galleries, the original driving force, are open. Sandy and I strolled around Old City without a plan. Not having done advance research, we ended up missing a few blocks with galleries we’d have liked. Next time. Most of the action that we caught was on a two block stretch of 2nd Street between Market and Arch Streets, and on Arch between 2nd and 3rd. A small chunk of territory, actually, but enough.

Brass band wailing away in Old City.
Brass band wailing away in Old City.
The human caterpillar.
The human caterpillar.

 

 

 

 

 

 

 

Our eyes were open for human creations and human activities. Who wouldn’t have loved the brash New Orleans-style brass band occupying a niche where Cuthbert and 2nd Streets meet. Or the long-haired White dude who, catching some zzzs, was draped like a caterpillar over one of those large and ubiquitous green utility company sidewalk boxes. He was Mr. Flexibility personified.

Lady in blue with her colorful wares.
Lady in blue with her colorful wares.

Or the head-scarved lady in blue on 2nd Street whose tables and racks held as eye-popping a collection of pillows, fabric trivets, shoulder bags and cloth drapings as one would ever see in a 30 square foot parcel of sidewalk. Middle-Eastern and Asian patterns and color combinations burst from her goods, clashing outrageously, looking great together nonetheless. Henri Matisse, who threw wild design combos into so many paintings and never met a color he didn’t like, would have loved this lady’s display.

Artworks by Keith Sharp at 3rd Street Gallery.
Artworks by Keith Sharp at 3rd Street Gallery.
Artworks by Bettina Clowney at 3rd Street Gallery.
Artworks by Bettina Clowney at 3rd Street Gallery.

There were beautiful paintings, sculptures and crafts to be seen in the galleries. I’ll mention a few places. We liked just about everything we saw at 3rd Street Gallery. Two artists were showing there. Keith Sharp’s dark and dramatic photographic manipulations were intriguing, some a bit ominous. They were very different from Bettina Clowney’s spare paintings. Clowney uses a lot of whites in her depictions of fruits, of people, and in non-representational designs. Gazing at each other from opposite walls, the Sharp and Clowney artworks made a good marriage.

Leora Brecher with some of her sculptures at MUSE Gallery.
Leora Brecher with some of her sculptures at MUSE Gallery.
Paintings by Charles Newman at F.A.N. Gallery.
Paintings by Charles Newman at F.A.N. Gallery.

MUSE Gallery was filled with Leora Brecher’s small fired clay sculptures, all in white. Many were abstract suggestions of human movement, open and flowing. Very lovely.

F.A.N. Gallery on Arch Street is one Sandy and I visit occasionally. I wasn’t knocked out by its smorgasbord of works by gallery artists on this First Friday visit. We both liked the oils by one artist though, Charles Newman. He paints Philadelphia street scenes, focusing on old buildings, very well. The perspectives from which he views his brick and stone subjects are off-angle, giving the pictures a quiet tension, and his earthy subdued color choices are just right.

Prime Stache, where we had dinner.
Prime Stache, where we had dinner.

Dinner time. Off to Prime Stache, a few blocks from First Friday, on Chestnut Street. Atmospherically, it’s for lovers of exposed brick and stone walls, which Sandy and I are. A pubby place short on wines but decently long on beers, its food is good. Prime Stache has some fancy offerings, but we weren’t in a fancy mood. We both enjoyed our simple burgers, Sandy’s of the salmon ilk, mine of the turkey.

Race Street Pier and Benjamin Franklin Bridge.
Race Street Pier and Benjamin Franklin Bridge.

The best part of the evening lay ahead. We strolled northward from Prime Stache to Race Street Pier, one of my favorite spots in Philadelphia. I’ve been there in daylight and late at night, and late night is better. The pier lies near the Benjamin Franklin Bridge, and in darkened hours the illuminated bridge overhead is breathtaking.

Jutting into the Delaware River, Race Street Pier once was a commercial municipal pier. It has been converted into a serene and intimate two level public park with long walking paths, a lawn and oak trees. Much of the Philadelphia region’s population has yet to discover this park. It opened four years ago, the first and still the only of its kind in Philadelphia. At the tail end of our First Friday evening, Race Street Pier bewitched Sandy and me. We walked romantically. We were inspired by views of the Delaware. We shook our heads marveling at the beauty of the massive Franklin bridge. And then it was time to head home.

(All of the photographs in this article were taken by Sandra Cherrey Scheinin. If you click on any photo, a larger image will open)

Beer Here!

I’m not much of a shopper these days. I don’t spend a lot of time in most stores. A huge indoor mall is near my home, but I rarely go. My visit there recently, a fruitless search for a pair of humble bedroom slippers, was my first in several months. Supermarkets, though, are another story. They are where I head to  indulge what’s left of my urge to buy. I look forward to visiting them, not only to purchase the items that my wife and I inscribe on our refrigerator notepad, but also to check out the remarkable amounts and varieties of just about anything you can name that Americans are able to choose from. There are two supermarkets not far from my house that I especially like to visit, though not to buy food. I go to these stores, Wegman’s and Weis, to ogle (and buy) beers.

In my pre-beer days as a kid in Brooklyn and then Long Island years ago, I wasn’t too big on shopping either. But I did like to spend plenty of time in candy stores. Candy stores were modest establishments that sold a wide variety of items, and usually included a soda fountain and lunch counter. Adults might pop in for cigarettes or greeting cards or a grilled cheese sandwich. The younger set primarily was interested in candy bars and other important stuff like comic books and yo-yos. At candy stores I used to gaze at the colorful rows and rows of teeth-destroyers before making a pick. PayDay, Mr. Goodbar, Chunky, Milky Way, Chuckles and on and on. What a choice. What a decision. What a pleasure. Candy stores linger fondly in my memory bank, but probably all are long gone. I haven’t seen any in decades.

For the last three or so years great pleasure has been mine at Wegman’s and Weis, whose beer aisles are my adult candy store. Wegman’s and Weis are among the few supermarkets in my area near Philadelphia that sell beer. I guess I’m lucky to have them, because it’s not easy for Pennsylvania supermarkets to sell suds. Only a few years ago, Pennsylvania’s State Liquor Control Board, the alcohol overlord, opened the door a crack to supermarkets willing to jump through hoops to obtain a license. So far not many supermarkets have chosen to deal with the process. Pennsylvania has gained fame for its archaic and labyrinthine rules governing the sale of alcohol. Possibly a Talmudic scholar would be able to understand them.

A beer rack at my local Weis supermarket. What's not to love?
A beer rack at my local Weis supermarket. What’s not to love?

In any case, my eyes widen and my heart flutters when I enter the beer section at my local Wegman’s or Weis. Loyal supporters of the microbrew revolution, these stores specialize in the types of beers that I swoon over. Hoppy ones and dark ones and spicy ones, for example. I love nearly all of them, as long as they are loaded with flavor. To me, the craft beer explosion in our fair country is one of the greatest and most positive developments of the past 20 years.

The thrills that rock me in the beer aisles are not very different from my younger self’s thrills in candy stores. Basically, eagerness to ingest the products and giddiness from staring at terrific looking packaging. Yes, not only do most microbrews taste really good, as with candy bars they also are well-dressed. In fact, beer labels are way cooler than candy wrappers ever were.

The six beers that I brought home from Weis.
The six beers that I brought home from Weis.

My aim during my visit to Weis last week was to assemble a create-your-own six pack mostly of beers that I hadn’t had before, and I know that in a few instances my right hand was stealthily guided towards bottles whose labels were too pretty or funky to ignore. I headed home with winners, taste-wise and label-wise, such as Victory Brewing’s Summer Ale and  Left Hand Brewing’s Sawtooth Ale. The photo to the left shows all six purchases (click on the photo to get a bigger image). Dig those crazy labels (excepting the one on Flying Fish’s offering).

More about beer as this blog progresses. Till then, drink in moderation and drive safely.

Dinner Was Better Than The Movie

When my wife Sandy and I go to movie theaters, which is often, we usually go to a restaurant for dinner too. Movie times dictate when we eat. Seems to me that when we both were gainfully employed we’d dine around 7 pm and catch a flick about two hours later. That meant we’d arrive back home at 11:30 or so. I can’t recall exactly why or when that pattern changed a bit, but getting home late at night, and to bed even later, must have set us thinking about schedule alternatives. A sign of aging? Nah, not a chance. In any event, these days we seem to watch maybe one third of our movies in late afternoon, which allows us to dine at a pleasant hour and arrive back at the ranch before 9 pm.

The Ambler Theater, cornerstone of beautiful downtown Ambler PA
The Ambler Theater, cornerstone of beautiful downtown Ambler PA

Such was the case this past Friday at the Ambler Theater in downtown Ambler, Pennsylvania. There we settled into our seats for the 4 pm showing of Far From The Madding Crowd, the fourth film adaptation of Thomas Hardy’s apparently still-beloved novel, first published in 1874. As far as I can recall, I never read the book nor saw the previous cinematic versions. I’m not a completist, so after watching the latest incarnation of Far I have no plans to visit any of the previous efforts.

Far From The Madding Crowd is by no means a bad movie. I’ll hand it, generously, two out of four stars. But it certainly didn’t floor me. It’s kind of slow, which didn’t put me off. It is also a soap opera, which didn’t rub me too wrong either. Soap operas can be fun. What I think I mainly didn’t enjoy were the lines of dialog that seemed to fall flat, or were poorly captured by the boom operator so that I couldn’t make them out (this English-speaking movie cried out for subtitles now and then). And the transition from scene to scene sometimes needed oiling. Other than that . . .

Set in rural England in the early 1870s, Far From The Madding Crowd concerns one Bathsheba Everdene, a young lady aged 18 or so whose innate charms knock men off their feet. Smart and independent, she is not seeking a husband, however. She does not wish to be stifled by the opposite sex. Politely rejecting two decent suitors, she eventually falls for and ends up marrying nogoodnik Frank Troy, an army sergeant who looks so fine in his uniform that Bathsheba’s latent sexual yearnings are forced to the surface. The movie has many plot twists from start to finish. Wait, this is a spoiler alert: Suffice it to say that in the end all is well, or mostly. Frank Troy exits, and steady and sturdy Gabriel Oak, a shepherd and Bathsheba’s first pursuer, finally captures her heart.

One moment at the very beginning of the film didn’t compute, and I’m still wondering how it got past the screenwriter. In voiceover, Bathsheba says that her parents died when she was young and, as there was no one thereafter to ask, she never knew why they gifted her with her uncommon given name. No one? How about asking her aunt, on whose farm Bathsheba is working as the movie opens. Or how about asking the relative from whom, several scenes later, she inherits a farm.

Oh well, that’s a mere quibble. Let me say that I enjoyed the acting of three of the four leads. That trio is Carey Mulligan (Bathsheba), Matthias Schoenaerts (Gabriel), and Michael Sheen (Mr. Boldwood, a rejected suitor). I didn’t clap for Tom Sturridge’s portrayal of Frank Troy, though. Tom’s pencil-thin mustache and darting eyes brought back images of too many silent movie era villains.

The beer I fell in love with at the Broad Axe Tavern.
The beer I fell in love with at the Broad Axe Tavern.

Time to eat. I’ll give three stars to the meal that followed Far, and much of that because of the lovely beer that I discovered. The repast took place in Ambler’s outer limits at the Broad Axe Tavern, where Sandy and I have dined at least 20 times. It’s a gastropub, meaning the food choices extend beyond hamburgers and hot roast beef sandwiches. And, like so many establishments in the Philadelphia region, it carries an incredible number of beers from around the world. That, more than anything, is the draw for me. After studying the beer menu for five minutes, at last I opted for one I’d never before tasted, Franziskaner Weissbier. It is a wheat beer from a German brewery that claims to trace its roots to a Franciscan monastery in 1363. Two thumbs up. Smooth, multi-spicy (pepper, coriander, who knows what else), a tad citrusy. And dig that satisfied monk on the label. Gotta love it.

Crab cake sandwich on left. To its right is grilled chicken panini.
Crab cake sandwich on left. To its right is grilled chicken panini.

Broad Axe’s food is good. I went with the crab cake sandwich and my wife ordered the grilled chicken panini. The former was light on filler, heavy on excellent meat, and pan-sautéed. The latter was large and flavorful, its thick slices of rustic Italian bread delicious. Like countless places these days, Broad Axe, not giving a hoot about contributing to America’s collective expanding waistline, accompanies its burgers and sandwiches with fries. But we weren’t in a fries mood, so for an extra two dollars we each substituted a side salad. On the surface there was nothing unusual about this salad, but it was strikingly fresh and crisp, which is not always the case. The bouncy red wine vinaigrette dressing was an ideal host for romaine lettuce, cucumber, red cabbage and feta cheese. Simple ingredients, top-notch outcome.

We had no room for dessert, though. Around 8 pm, our Ambler evening concluded, home we headed.

A Winning Dinner And A Fashionable Movie

Figuring out last minute Saturday night plans at home in the burbs recently, my wife and I were surprised to find dinnertime slots available on OpenTable for Capofitto, a hot newish Italian restaurant in Philadelphia’s wonderful Old City section. This is a place we’d read about when it opened last autumn. It sounded good and also intriguing, as it contains a ten ton pizza oven that was built by three Italian masons on site from bricks and other materials boated over from Italy. Clearly this is an establishment that takes its pizza seriously, which makes me smile. Quickly we made an OpenTable reservation, shot off to a suburban train station, and rode the rails into Philadelphia. After dinner we planned to catch a movie, Dior And I, at the Ritz Bourse art house cinema, one block from Capofitto. We silently congratulated ourselves for developing such an efficient plan for the evening.

Capofitto's dining room.
Capofitto’s dining room.

Capofitto (233 Chestnut Street) is a good looking place, fairly wide and very long, comfortable but not too fancy. Housed in a building about 115 years old, its modern décor somehow gives off the vibes of a traditionally-decorated Italian eatery. The restaurant is owned by Stephanie and John Reitano, who have placed a geletaria in the front room. This is understandable, as the Reitanos blessed Philadelphia earlier this century with a scattering of mucho popular gelato cafés. Capofitto expands the culinary parameters of the Reitano empire.

Icelandic White Ale
Icelandic White Ale

The first important question is: What beer did I order?  An Italian one would have been appropriate, but for the fact that Capofitto’s beer menu listed a brand I’d never heard of before, from a country I’d never given any thought to as a beer producer. Iceland of all places. Next time at this sweet restaurant I’ll drink Italian, but this night it had to be Einstök brewery’s Icelandic White Ale. This is a wheat beer whose label implies that the brewers toss orange peels and coriander into the vat. I noticed those flavors, but unexpectedly I also found a substantial hint of celery wafting up to my nostrils. Must have been the hops, weird dudes that can impart all manner of tastes and aromas to beer. Regardless, the ale had bite and was refreshingly bubbly and I liked it a lot.

Capofitto's pinoli salad and focaccia bread.
Capofitto’s pinoli salad and focaccia bread.

What then did we have for dinner? Pizza of course, preceded by a pinoli salad. Pinoli? That’s pine nuts to you and me. My wife and I shared both the salad and pizza. The salad was misnamed, being composed largely of shredded fennel and orange slices, and brought to life with a fine milky dressing and ricotta cheese. And with some toasted pinoli too. We thought much of the salad, though a lot more pinoli wouldn’t have hurt. With the salad came focaccia bread, very good indeed.

Our gorgeous pizza.
Our gorgeous pizza.

Our pie, a margherita to which we added salty black olives, was fabulous. The pie crust’s body was thin and crisp, its puffy rim chewy in a satisfying way. The entire crust was heat darkened and blistered here and there, the good quality wheat’s earthy flavor shining through. It’s not every pizza whose wheat catches your attention. My wife and I sighed contentedly as we munched away. This was one of the best pizzas I’ve had in recent years.

Capofitto's oak-burning pizza oven.
Capofitto’s oak-burning pizza oven.

The pizza oven, by the way, is a beauty. I looked it over for a few minutes. Capofitto feeds it wood, oak to be more precise, and it reaches very high temperatures, 900 degrees Fahreinheit or higher. Miraculously it bakes a pie in about 90 seconds.

Now, Capofitto has a large menu. Pizzas, salads, cold meats, cheeses, a few pasta dishes. I’d be surprised if most everything on it isn’t good to excellent. But after the pizza we were stuffed enough and didn’t eat anything more, not even the gelatos that brought the Reitanos their initial fame. We will return to Capofitto, at which time we’ll explore sections of the menu we didn’t get to. For now, on to the movie.

The poster for Dior And I outside the Ritz Bourse.
The poster for Dior And I outside the Ritz Bourse.

No one, most notably my wife, would describe me as a fashionisto. I am aware of trend-setting looks and high fashion, but the road sort of ends there. But like most anything, the world of high fashion, if explained and presented properly, will jump to life even for the mildly interested. At the Ritz Bourse my wife and I, as planned, watched Dior And I. Well-paced and well-developed, it is a documentary about the cloistered world of haute couture. It is very good, worth seeking out. Three out of four stars, I’d say.

Dior And I, directed by up and comer Frédéric Tcheng, follows the travails and successes of Raf Simons during the initial phase of his new job in 2012. For in April of that year, Simons, who had made his name in men’s fashion design, was hired by Paris’s world famous House of Dior as creative director for its women’s lines. Lucky Raf’s first big project began immediately. He had all of eight weeks to design and present Dior’s 2012 fall-winter haute couture collection. A snap, right?

The documentary begins with Raf’s first day at work, when he is introduced to the seamstresses and other staff now under his direction. Throughout the film Simons appears shy, which makes me wonder how he managed to rise to so high a creative and managerial position. Turns out that the House’s founder, Christian Dior, possessed traits similar to Simons’s. The private Dior was a reticent man, uncomfortable with the public demands of his occupation. Simons is aware of the founder’s bearings. On camera he says that he once began reading Dior’s memoir, only to put it down forever after a short while because he recognized too much of himself in Dior’s personality.

Wait, this is a spoiler alert: At the end Simons triumphs, a survivor of the strained nerves and pained expressions that accompanied him during his test by fire. The haute couture show, held on July 2, 2012 in a majestically flowered Parisian mansion, is a hit. There the movie ends. Today, almost three years later, Simons is still on the job. He undoubtedly has grown more comfortable in it.