The Linguini Incident (1991) has finally come to Blu-Ray courtesy of MVD Visual and it looks incredible. The disc includes a new edit of the film by director Richard Shepard in addition to the original release cut of the film. But in a way what is even more exciting are the special features which includes a feature length “making-of” documentary.
Little movies like The Linguini Incident don’t often get deluxe home video releases or even a lot of press. So the stories behind films like this are often never told. Without this new Blu-Ray of The Linguini Incident it wouldn’t be common knowledge that Shelly Winters was originally cast in the film or that she loved fart jokes; Bowie’s friendship with Rosanna Arquette would be unknown; nor would we know about Andre Gregory and the linguini cake. There’s just so much trivia about the film in these special features that adds to the enjoyment of the film.
This is why physical media is better than streaming. Not only does one get access to all kinds of behind-the-scenes and critical information about a beloved film, but one also gets to own it forever. Streaming just can’t offer a consistently immersive experience in a film the way that a Blu-Ray or DVD can. Special editions like The Linguini Incident are the bread and butter for serious cinephiles.
In some cases special features are legitimate films in their own right. The documentary features like Notes From Under The Volcano (1984) or I’m Almost Not Crazy (1984) have been packaged as special features even though stylistically and cinematographically they are on par with their cinematic subjects. It’s like getting two films for the price of one.
In some cases the “making-of” documentary is even more interesting than the film that is the subject of the behind-the-scenes look. A cult film like Free Enterprise (1999) has a behind-the-scenes tale that is far more interesting than the film itself. But these two films together on a DVD, the making of Free Enterprise and Free Enterprise form one cinematic text that transcends either part on its own. These are some of the best special features; the special features that make a bad or mediocre film interesting.
So why would anyone opt to watch a film without the promise of special features? Don’t we all want to hear Wim Wenders and Dennis Hopper awkwardly reminisce on the audio commentary of The American Friend (1977) or hear Abel Ferrara rock out over the end credits of King Of New York (1990)? These are essential experiences for the cinephile that are only possible with physical media.
