Since “The Bear” ’s début, cooks and former cooks have commented on how viscerally it captures the anxiety and volatility of a working kitchen.
The excellent new FX show “The Bear” takes place in a type of restaurant that only exists in Chicago. Not quite a diner, not quite a deli, not quite a fast-food joint, it is a storefront establishment with big plate-glass windows, grubby in a reassuring way, with illuminated signs that advertise Italian beef or gyros.
The hero of the series is Carmen Berzatto, a driven hot shot who until recently had been running the kitchen at the best restaurant in the world, somewhere in New York City. He is played with rumpled intensity by Jeremy Allen White, who has the lake-blue eyes and crescent-moon profile of a young emperor unaware that he’s about to be murdered by the Praetorian guard.
Into this swamp of missing money, lifer line cooks, and rag-stuffed grease traps, Carmy brings the sensibility of the classically trained chef. The language and expectations of the high-endhave been imprinted on him like a tattoo on the soul. Why shouldn’t an Italian beef sandwich be a work of art? By the end of the first episode, Carmy has already retooled the Beef’s offerings.
“The Bear” has rightly been praised for its uncannily realistic depiction of restaurant life. Kitchen work has rarely been portrayed this convincingly onscreen. The creator of “The Bear,” Christopher Storer, is best known for his documentaries, including the 2013 film “Sense of Urgency,” about the illustrious chef, and it’s clear that he knows how to capture the way restaurants really work.
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