m> Food appears throughout "The Godfather” series, which is no surprise considering director Francis Ford Coppola’s involvement in the wine and food business. Hint: If you see an orange in any of these movies, death and/or destruction is not far behind. After turncoat Paulie is shot to death, capo Pete Clemenza instructs his goon to "leave the gun, take the cannoli,” for fear of his wife’s wrath. Cannoli becomes a weapon in the third movie. Clemenza gives Michael Corleone (Al Pacino) a lesson in making ragu. It goes on and on. Michael’s coming- out party at an Italian cafe is most memorable. He exacts revenge on pasta-munching McCluskey and Solozzo for their attempt to kill his father (Marlon Brando). It’s strictly business, not personal.
."I don’t tip.”
Before "Pulp Fiction” made Quentin Tarantino big enough to spend his career patching together ’70s movies and calling it cool, there was "Reservoir Dogs.” The opening scene, shot around the breakfast table, introduces us to the profane, pop culture-laced dialogue that would make him the biggest director of the indie-film age. While trivial matters are cussed and discussed, the scene ends with Mr. Pink (Steve Buscemi) waxing poetic about his disbelief in tipping.
.The midnight snack in "9½ Weeks.”
In honor of Mickey Rourke’s return from the witness protection program, let’s beckon his salad days. While "9½ Weeks” was by no means the best film of 1986, it certainly got the most press for its sexuality. The scene with Kim Basinger that titillates most had no nudity or overt sex acts. It’s a simple scene between two lovers at a refrigerator. A series of taste tests ensue, and the result is one of the hottest scenes ever devoted to film.
."I drink your milkshake!”
Last year, "There Will Be Blood” played second fiddle to "No Country for Old Men” on Oscar night, except for the best actor category. Daniel Day-Lewis took home the gold for his performance, which is so over-the-top you feel as if you’re being held at gunpoint to buy into his interpretation of Daniel Plainview. The final scene, in which milkshakes are a metaphor for oil prospecting, is intense. If you realize Day-Lewis is channeling Oscar-night all-star Jack Palance, it’s comedy gold.