Pommes Anna

 

Below is an article about the dish known as Pommes Anna:



POMMES ANNA

One of the more classic dishes known to professional chefs and cooks is the French classic, Pommes Anna. The latter is a dish that consists of sliced, layered potatoes that are cooked in a very large amount of melted butter. And nothing else.

Many attribute the creation of Pommes Anna to Adolphe Dugléré, a pupil of the iconic chef Marie-Antoine Carême. Dugléré was head chef at the Café Anglais, the leading Paris restaurant during the reign of Napoleon III, where he may have created the dish. He had reputedly named the dish after one of the grandes cocottes of the period. However, there was a dispute over which beauty the dish was named after - actress Dame Judic (aka Anna Damiens) or Anna Deslions.

As I had stated earlier, Pommes Anna only required two basic ingredients - firm-fleshed potatoes and clarified butter. The potatoes are peeled and sliced very thin. The sliced potatoes are seasoned with salt and pepper before being layered in a pan. The potatoes are usually cooked in a special double baking dish made of copper called la cocotte à pommes Anna. It is still manufactured in France for this dish's preparation. It consists of upper and lower halves which fit into each other so that the whole vessel with its contents can be inverted during cooking.

After being layered into the pan, the potatoes are generously doused with clarified butter, and baked or fried until they form a cake. Then the cake is flipped every ten minutes until the outside is golden and crisp. At the end of the cooking period, the dish is molded into a cake that is 6 to 8 inches (15 to 20 cm) in diameter and about 2 inches (5.1 cm) high. It is then cut in wedges and served immediately on a hot plate as a side dish for roasted meat.

Below is a recipe for Pommes Anna at the Cooking.nytimes.com website:


Pommes Anna

Ingredients

3 large russet potatoes, washed but not peeled
Butter
Olive oil
Kosher salt
Well seasoned slope sided iron or non-stick pan, 8-10 inches wide (an omelette pan is ideal).


Preparation

Step 1 - Heat large knob of butter with a healthy drizzle of olive oil over medium low heat until butter melts and just starts to foam. Shut off heat under pan.

Step 2 - Using a sharp and stable Japanese mandolin — or the real French metal one if you’re lucky enough to have one — slice the potatoes into very thin but not paper-thin slices.

Step 3 - Arrange the slices tightly, careful shingling around the pan in concentric circles starting at the outer edge of the pan and working your way into the center. Season the first layer with a little salt. Repeat with each potato until you achieve three tight and gorgeous layers.

Step 4 - Turn the heat back on under the pan at medium. Drizzle the potatoes with a generous pour of olive oil and dot a few more pats of butter around the pan of potatoes. Season with salt. As the pan starts to sizzle, you will see the fat bubbling up and spitting a bit. Put a lid on the pan and seal tightly for a minute or two, giving the potatoes a little steam bath, helping to soften and cook the flesh. Remove the lid and swirl the pan with a little muscle to see if the potatoes are binding together as their starch begins to heat up. If they slip loosely all around the pan, tuck the slices back into the tight circle using a heat-proof rubber spatula and allow to sizzle and cook longer uncovered. Bump up the flame a little if the cooking sounds and looks listless — you want to hear sizzle. When you start to smell the potatoes turning golden and crisp — like the smell of toast — swirl the pan again to confirm that the potato layers have formed a cake, and then flip the pommes Anna and cook on the other side also until golden and crispy. Slide onto serving plate or cutting board, season with salt, and cut into wedges.

The Comparisons Between "MAYTIME" (1937) and "TITANIC" (1997)

While watching the 1937 operetta that starred Jeanette MacDonald and Nelson Eddy - "MAYTIME", I noticed that the story and main characters bore a strong resemblance in story structure to a movie that was released sixty years later . . . namely "TITANIC", which starred Leonardo diCaprio and Kate Winslet. Note the following:


The Comparisons Between "MAYTIME" (1937) and "TITANIC" (1997)

Down Memory Lane
*”MAYTIME” starts with the elderly heroine recounting her experiences as an opera singer in Paris of the 1860s to a young couple.

*”TITANIC” starts with the elderly heroine recounting her experiences as a bride-to-be aboard the S.S. Titanic to her granddaughter and a group of treasure seekers.


Box Office
*"MAYTIME" was the box office champ of 1937.

*"TITANIC" was the box office champ of 1997/1998.


The Villain
*The flashback for ”MAYTIME” begins with the heroine – American opera singer Marcia Mornay (Jeanette MacDonald) – in Paris, being accompanied by a possessive mentor Nicolai (John Barrymore).

*The flashback for ”TITANIC” begins with the heroine – American aristocrat Rose DeWitt Bukater (Kate Winslet) – about to board the S.S. Titanic with her possessive fiancé Cal Hockley (Billy Zane) and manipulative mother Ruth DeWitt Bukater (Frances Fisher).


Meeting the Hero
*In ”MAYTIME”, after escaping her mentor’s company, Marcia meets a penniless American singer named Paul Allison (Nelson Eddy) on the streets of Paris. He had been living in Paris for a few years.

*In ”TITANIC”, after escaping her fiancé and mother’s company, Rose tries to commit suicide and eventually meets a penniless American artist named Jack Dawson (Leonardo diCaprio) on one of Titanic’s decks. He had been living in Paris and London for a few years.


The Pleasure of Each Other’s Company
*Marcia and Paul spend an evening singing and dancing at a Paris café with lower-class citizens in ”MAYTIME”.

*Rose and Jack enjoy a night drinking and dancing with the steerage passengers, following a formal dinner in ”TITANIC”.

Jealousy
*Marcia’s mentor, Nicolai, grows increasingly jealous toward Paul in ”MAYTIME”.

*Rose’s finace, Cal, grows increasingly angry and jealous of Rose’s time with Jack in ”TITANIC”


Intimate Bond
*Marcia and Paul share an intimate bond, while performing together on the opera stage, under the jealous eye of Nicolai in ”MAYTIME”

*Rose and Jack share an intimate bond together, while he draws a nude sketch of her. They later make love. A jealous Cal later finds the drawing in ”TITANIC”.


Death of Hero
*Insane with jealousy, Nicolai later shoots and kills Paul in ”MAYTIME”

*A jealous Cal goes beserk and tries to kill both Rose and Jack. The latter eventually freezes to death in the cold North Atlantic Ocean, after the ship’s sinking in ”TITANIC”.


Death of Heroine
*After the elderly Marcia finishes her story, she dies in ”MAYTIME”. The ghost of her younger self meets with Paul’s ghost and they sing together in the afterlife.

*After the elderly Rose finishes her story, she dies in ”TITANIC”. The ghost of her younger self meets with Jack’s ghost, and the ghosts of Titanic’s dead passengers in the afterlife.


Mind you, the plots of both "MAYTIME" are not exactly like that of "TITANIC". But there are some strong similarities in both characterizations and in story structure that makes me wonder if James Cameron had watched the 1937 musical one too many times.

"WASHINGTON SQUARE" (1997) Review

"WASHINGTON SQUARE" (1997) Review

I suspect there might be a good number of movie fans who have seen William Wyler’s 1949 movie, ”THE HEIRESS”. This film, which led to a second Academy Award for actress Olivia DeHavilland, was based upon both Henry James’ 1880 novel, ”Washington Square”, and the 1947 stage play of the same title. In 1997, another version of James’ novella appeared on the movie screens. Directed by Agnieszka Holland, ”WASHINGTON SQUARE” starred Jennifer Jason Leigh, Albert Finney, Ben Chaplin and Maggie Smith.

Anyone familiar with James’ tale should know that it told the story of one Catherine Sloper, the plain and awkward daughter of the wealthy Dr. Austin Sloper in antebellum Manhattan, who falls in love with a penniless, yet handsome young man named Morris Townsend against her father’s wishes. If one thinks about it, the plot sounds like a typical costumed weeper in which a pair of young lovers kept apart from outside forces – in this case, a disapproving parent. But James had added a few twists to make this story. One, the story kept many in the dark on whether the penniless Morris actually loved Catherine. Two, Dr. Sloper not only disapproved of Morris, but also harbored deep contempt and resentment toward his daughter’s plain looks and awkward social skills. Her crimes? Catherine’s birth had led to the death of his beloved wife. And his daughter failed to inherit her mother’s beauty and style. After a great of psychological warfare between Catherine, Dr. Sloper, Morris and Dr. Sloper’s sister Lavinia Penniman, the story ended on a surprising note for those who have never read the novel or seen any of the film or stage versions. Those familiar with the tale at least know that it ended on a note of personal triumph for the heroine.

Many movie fans and critics seemed incline to dismiss ”WASHINGTON SQUARE” as a poor remake of the 1949 film. I will not deny that in many respects, ”THE HEIRESS” is superior to ”WASHINGTON SQUARE”. However, I would not be inclined to dismiss the 1997 film as a failure. It still turned out to be a pretty damn good adaptation of James’ novel. In fact, it turned out to be a lot better than I had expected.

Jennifer Jason Leigh did an excellent job of portraying the shy and socially awkward Catherine Sloper. Even better, she managed to develop Catherine’s character from a shy woman to one who became more assured with herself. However, I do have one small quibble regarding Leigh’s performance. She had a tendency to indulge in unnecessary mannerisms that would rival both Bette Davis and Cate Blanchett.

Maggie Smith gave an illuminating performance as Catherine’s silly and romantically childish aunt, Lavinia Sloper Penniman. I found myself very impressed by Ben Chaplin’s portrayal of Catherine’s handsome and charming suitor, Morris Townsend. The actor struck a perfect balance of charm, impatience and ambiguity. And his verbal battles with Albert Finney’s character left me spellbound. Judith Ivey gave an intelligent performance as Catherine’s other aunt, the sensible and clever Elizabeth Sloper Almond. I especially enjoyed one scene that featured a debate between Catherine’s father and Aunt Elizabeth over her relationship with Morris.

But in my opinion, Albert Finney gave the best performance in the movie as Catherine’s aloof and slightly arrogant father, Dr. Austin Sloper. The interesting thing about Finney’s performance was that he able expressed Dr. Sloper’s concern he felt over the possibility of Catherine becoming the victim of a fortune hunter. At the same time, Finney perfectly balanced Sloper’s concern with the character’s lack of affection or warmth toward his daughter. My favorite scene with Finney featured an expression of disbelief on his face, as his character noticed Lavinia’s enthrallment over Catherine and Morris’ musical duet.

If there is one aspect of ”WASHINGTON SQUARE” that impressed me more than Wyler’s 1949 adaptation was Allan Starski’s production designs. Under Holland’s direction, Starski worked effectively with costume designer Anna B. Sheppard, Jerzy Zielinski’s photography and the visual effects supervised by Pascal Charpentier to transport moviegoers back to antebellum New York City. In fact, the movie’s late 1840s setting struck me as superior to that shown in the 1949 movie. And because of this, the movie managed to avoid the feeling of a filmed play.

Holland and screenwriter Carol Doyle’s adaptation of James’ novel seemed a lot closer to the original source than the earlier version. At least the movie’s last twenty minutes adhered closer to the novel. I suspect that the movie’s first ten to fifteen minutes – which focused upon an embarrassing childhood incident regarding Catherine and her father’s birthday party – had been the screenwriter’s invention. Personally, I found this sequence rather unnecessary. Doyle could have easily used brief dialogue to reveal the origin of Dr. Sloper’s coldness toward Catherine. But in the end, Doyle’s screenplay basically followed James’ novel.

But after watching the movie’s last twenty minutes, I found myself wishing that Doyle and Holland had followed Wyler’s adaptation and the 1947 stage play. The movie nearly fell apart in the last twenty minutes, thanks to a decision on Holland’s part. Most of the dramatic moments in ”WASHINGTON SQUARE” appeared in the last half hour – Catherine’s realization of her father’s dislike, Morris’ rejection of her after discovering her decision to endanger her inheritance, Dr. Sloper’s death, the reading of his will and Morris’ second attempt to woo Catherine. Out of all these scenes, only Catherine’s reaction to her father’s will generated any real on-screen dramatics. All of the other moments were performed with a subtlety that robbed filmgoers of any real drama. The fact that I could barely stay awake during Catherine’s final rejection of Morris told me that Holland made a serious mistake in guiding her cast to portray these scenes in a realistic manner. There is a time for realism and there is a time for dramatic flair. And in my opinion, those final scenes in the last half hour demanded dramatic flair.

Despite my disappointments in the movie’s last half hour, I must admit that I managed to enjoy ”WASHINGTON SQUARE”. It may not have been just as good as or superior to 1949’s ”THE HEIRESS”. But I believe that it still turned out to be a pretty damn good movie.

"WASHINGTON SQUARE" (1997) Photo Gallery

Below are images from "WASHINGTON SQUARE", the 1997 adaptation of Henry James' 1880 novella. Directed by Agnieszka Holland, the movie starred Jennifer Jason Leigh, Albert Finney, Ben Chaplin, and Maggie Smith:


"WASHINGTON SQUARE" (1997) Photo Gallery