Sunday, December 04, 2005
Frankie's 457, Carroll Gardens, Brooklyn, NY
The silverware on the table at Frankie’s 457 is Oneida’s Strauss pattern (in stainless; the pattern—from one of the higher end collections—is also available in silverplate). The Strauss pattern fits well with the food on offer at Frankie’s, which specializes in modernized Italian cooking. The food is comforting and like what one would eat at home every night, if one cooked this well; the Strauss pattern would not be out of place on the table of any of the young, well-to-do, educated Brooklynites that frequent Frankie’s. Although Frankie’s also does take-out, I would much rather eat in the restaurant itself, not just because Frankie’s (mostly) gets its table decoration right, but also for the drink menu.
The modernist impulses of the Strauss pattern come from its unornamented design; the forks and spoons are one smooth, flowing form. This is, of course, a modernist device, which recognizes the nature of the material. The knife, however, does have an articulated throat, which clearly separates the handle from the blade (on the silverplated version, this would make sense: the blade would be stainless, while the handle would be silver. On a stainless pattern this is an affectation and alludes to the nobler version). The overall design of the knife also departs quite significantly from the fork, in silhouette and also in the shape of the terminal end. The fork and spoons are a flattened crescent and quite light, while the knife is more bulbous and hefty. The Strauss knife does not follow the stylistic rules set up by the other pieces in the service. Of course, Oneida—not Frankie’s—is to blame for these design flaws in the flatware.
At Frankie’s all of the antipasti comes in shallow, oblong dishes. You will quickly be out of room on the small tables for two if you order more than two or three of these sides (and even faster if you’ve got multiple drinks, olives, or bread). Luckily, there are separate silverware courses for the sides.
Of the sides, the polenta is not to be missed, although it is not always on the menu (especially at brunch, where it is an excellent compliment to all of the egg dishes). It could use its own silverware. With the fork, it is hard to eat all of it (and you will want every last bite); it seems somehow wrong to eat polenta with a spoon. A polenta spork, perhaps?
The modernist impulses of the Strauss pattern come from its unornamented design; the forks and spoons are one smooth, flowing form. This is, of course, a modernist device, which recognizes the nature of the material. The knife, however, does have an articulated throat, which clearly separates the handle from the blade (on the silverplated version, this would make sense: the blade would be stainless, while the handle would be silver. On a stainless pattern this is an affectation and alludes to the nobler version). The overall design of the knife also departs quite significantly from the fork, in silhouette and also in the shape of the terminal end. The fork and spoons are a flattened crescent and quite light, while the knife is more bulbous and hefty. The Strauss knife does not follow the stylistic rules set up by the other pieces in the service. Of course, Oneida—not Frankie’s—is to blame for these design flaws in the flatware.
At Frankie’s all of the antipasti comes in shallow, oblong dishes. You will quickly be out of room on the small tables for two if you order more than two or three of these sides (and even faster if you’ve got multiple drinks, olives, or bread). Luckily, there are separate silverware courses for the sides.
Of the sides, the polenta is not to be missed, although it is not always on the menu (especially at brunch, where it is an excellent compliment to all of the egg dishes). It could use its own silverware. With the fork, it is hard to eat all of it (and you will want every last bite); it seems somehow wrong to eat polenta with a spoon. A polenta spork, perhaps?
