Melton Mowbray Pork Pie

 

Below is an article about the British dish known as the Melton Mowbray Pork Pie:



MELTON MOWBRAY PORK PIE

Meat pies have been a staple of world cuisine for centuries. At least as far back as the medieval era. The use of pork has been more associated with the British Isles than any other country . . . as far as I know. But one of Great Britain's most famous pork pies happens to be the Melton Mowbray Pork Pie.

A pork pie is a traditional English meat pie that is usually served either at different temperatures, depending on the individual pie. It consists of a filling of minced pork and pork fat that is surrounded by a layer of jellied pork stock in a hot water crust pastry.The dish is usually eaten as a snack or with a salad. The question remains . . . how does the Melton Mowbray Pork Pie differ from other British pork pies?

While preparing a traditional pork pie, the cook uses a mixture of fat and cured meat, giving the filling a pink color. For the Melton Mowbray Pork Pie, only uncured pork is used, leaving a gray color for the filling when prepared. The pork is usually chopped in slightly larger pieces, instead of minced. Also, the pie's crust is hand formed and baked free-standing. This allows the sides to bow outwards, rather than being vertical as with mould-baked pies. Unlike other British meat pies, the Melton Mowbray Pork Pie is served cold.

The exact date for the Melton Mowbray Pork Pie's origin is unknown. However, the dish had originated in Melton Mowbray, a town in Leicestershire. Some claimed that the pie was popular among fox hunters in that area during the late eighteenth century. However, others have pointed out that the association of the pork pie trade with Melton had originated around 1831 as a sideline in Edward Adcock's bakery and confectioners shop. A number of other bakers then started supplying them within a decade, including former grocer Enoch Evans, who may have been responsible for establishing the industry on a large scale. Eating Melton Mowbray Pork Pies for Christmas has developed into a tradition in the East Midlands. Although its origin is unknown, the association of Melton Mowbray Pork Pies with Christmas might date back to the mid-19th century. This proved to be the busiest time of year for the Melton manufacturers.

Here is a recipe for the Melton Mowbray Pork Pie from the BBC Food website:


Melton Mowbray Pork Pie

Ingredients

Pastry
150g/7oz lard
50ml/2fl oz milk
50ml/2fl oz water
450g/1lb plain flour, plus extra for dusting
salt and freshly ground black pepper
1 free-range egg, beaten, for brushing

Pork Jelly
900g/2lb pork bones
2 pig's trotters
2 large carrots, chopped
1 onion, peeled, chopped
2 sticks celery, chopped
1 bouquet garni (bay, thyme, parsley; tied together with string)
½ tbsp black peppercorns

Pie Filling
400g/14oz shoulder of pork, finely chopped
55g/2oz pork belly, skin removed, minced
55g/2oz lean bacon, finely chopped
½ tsp ground allspice
½ tsp freshly grated nutmeg
salt and freshly ground black pepper


Preparation

*For the pastry, place the lard, milk and water into a small pan and gently heat until the lard has melted.

*Sift the flour into a large bowl and season with salt and freshly ground black pepper and mix well.

*Make a well in the flour and pour in the warm lard mixture. Mix well to combine, until the mixture comes together to form a dough. Knead for a few minutes, then form into a ball and set aside.

*For the pork jelly, place all of the pork jelly ingredients into a large pan and pour in enough water to just cover. Bring slowly to the boil, then reduce the heat to a simmer. Cook for three hours over a low heat, skimming off any scum that rises to the surface, then strain the stock through a fine sieve and discard the solids.

*Pour the sieved stock into a clean pan and simmer over a medium heat until the liquid has reduced to approximately 500ml/1 pint.

*For the pie filling, place all of the pie filling ingredients into a large bowl and mix well with your hands. Season with salt and freshly ground black pepper.

*Preheat the oven to 180C/350F/Gas 4.

*Line a pork pie dolly (or a jam jar) with cling film to prevent the pastry from sticking.

*Pinch off a quarter of the pastry and set aside. On a floured work surface, roll out the remaining three-quarters of pastry into a round disc about 3cm/1¼in thick. Place the pie dolly into the middle of the pastry circle and draw the edges of the pastry up around the sides of the dolly to create the pie casing. Carefully remove the dolly from the pastry once your pie casing is formed.

*Roll the pork pie filling into a ball and carefully place into the bottom of the pastry case.

*Roll out the remaining piece of pastry into a circle large enough to cover the pastry case as a lid.

*Brush the top inner parts of the pastry casing with some of the beaten egg and place the pastry circle on top. Pinch the edges of the pastry to seal the pie. Brush the top of the pie with the rest of the beaten egg, then bake in the oven for 45 minutes to one hour, or until the pie is golden-brown all over.

*Remove the pie from the oven and set aside to cool. Cut two small holes in the top of the pork pie and pour in the pork jelly mixture (you may need to heat it through gently to loosen the mixture for pouring). Chill in the fridge until the jelly is set.

*To serve, cut the pie into slices and serve with piccalilli or chutney.

"MURDER ON THE ORIENT EXPRESS" (1974) Review

 

"MURDER ON THE ORIENT EXPRESS" (1974) Review

Whenever the topic of Agatha Christie novels pop up, many critics and fans seem to rate her 1934 novel, "Murder on the Orient Express" as among her best work. This stellar opinion seemed to have extended to the 1974 movie adaptation. After all, the film did receive six Academy Award nominations and won one. Is "MURDER ON THE ORIENT EXPRESS" the best adaptation of an Agatha Christie novel? Perhaps. Perhaps not. Is it my favorite? Hmmm . . . I will get to that later.

But I cannot deny that the movie, also produced by John Bradbourne and directed by Sidney Lumet, is a first-class production. One could easily see that Bradbourne and Paramount Pictures had invested a great deal of money into the production. They hired the very talented and award winning director, Sidney Lumet; along with an all-star cast led by Albert Finney; cinematographer Geoffrey Unsworth; production and costume designer Tony Walton; and Paul Dehn to write the screenplay.

One of the most unique aspects of this particular movie is that it started with a haunting montage featuring newspaper clippings and newsreel footage of a tragic kidnapping of a three year-old girl from a wealthy Anglo-American family named Daisy Armstrong. The kidnapping of young Daisy would end up playing a major role in the true identities of the murder victim and the suspects. The movie soon moved to Istanbul, five years later, where famed Belgian-born detective, Hercule Poirot (Albert Finney), is about to journey back to England via the Orient Express. Despite the unusually heaving booking in the train’s Calais coach, Poirot manages to secure a berth aboard the train thanks to an old friend, Signor Bianchi (Martin Balsam), who happens to be a director for the Orient Express’ owner – the Compagnie Internationale des Wagons-Lits. After the train departs Istanbul, a mysterious American art collector named Ratchett (Richard Widmark) informs Poirot that someone has been sending him threatening notes and asks for the Belgian’s protection. Due to Poirot’s instinctual dislike of Rachett, the detective refuses to help. And after the train finds itself snowbound in the Balkans, Rachett is stabbed to death in the middle of the night. Signor Bianchi asks Poirot to unearth the murderer.

”MURDER ON THE ORIENT EXPRESS” turned out to be the first screen adaptation of a Christie novel to feature an all-star cast. One that only included screen stars such as Lauren Bacall, Sean Connery, Ingrid Bergman, Anthony Perkins, Vanessa Redgrave, Jacqueline Bisset, Michael York and Jean-Pierre Cassel. The cast also included stage luminaries such as John Gielgud (who was a bigger star on the stage), Wendy Hiller, Denis Quilley and Colin Blakely. And all of them gave solid performances, although I do have a few quibbles about a few members of the cast.

Critics had been especially impressed by Finney’s interpretation of the Belgian detective and Ingrid Bergman’s role as a shy and nervous Swedish missionary. Both received Academy Award nominations and Bergman won. Personally, I am not certain if both actors deserved their nominations. They gave pretty solid performances. But I found nothing extraordinary about Bergman’s Swedish missionary. It was a first-rate performance, but not worthy of an Oscar nomination, let alone an Oscar. And although he gave a superb performance, there were times when Finney seemed to drift into some kind of parody of the Continental European. This is why I believe that actors with strong European backgrounds like Peter Ustinov and David Suchet should portray Poirot. But . . . I cannot deny that he gave a very good performance. And he also conveyed certain aspects of Poirot's personality that I have never seen in Ustinov or Suchet's portryals - one of them being a talent for manipulating others into revealing themselves during an interrogation. I also enjoyed his brief scene with Jeremy Lloyd, who portrayed an obsequious British Army officer that served as Poirot's escort during the crossing of the Bosphorus Strait.

And there were times when some members of the rest of the cast seemed to be in danger of drifting into hammy acting. Sean Connery sometimes came off as heavy-handed in his British Army officer routine. And Anthony Perkins’ parody of his famous Norman Bates role irritated me to no end . . . especially since the literary version of his character – Hector McQueen – came off as a completely different personality. However, Perkins had one really excellent scene that featured no dialogue on his part. But three performances did strongly impress me – namely Jean-Pierre Cassel as the rail car attendant, Pierre Michel; Rachel Roberts as a German lady’s maid named Hildegarde Schmidt; and Colin Blakely as Cyrus Hardman, an American detective masquerading as a talent scout. Unlike some members of the cast, these three managed to give subtle, yet convincing performances without sometimes careening into parody. And Blakely provided one of the most poignant moments in the film when Poirot revealed his character’s (Hardman) personal connection to the Daisy Armstrong kidnapping case.

As for the movie’s screenplay, I must admit that Paul Dehn and an uncredited Anthony Shaffer did an excellent job in adapting Christie’s novel for the screen. They managed to stay true to the novel’s original plot with very few changes. Their only misstep was in making the Hector MacQueen’s character into a parody of the Norman Bates role from ”PSYCHO” (1960), due to Perkins being cast into the role. Or perhaps the fault lay with Lumet. Who knows? However, I cannot but express admiration over the brilliant move to include the montage that featured Daisy Armstrong’s kidnapping and murder at the beginning of the film. It gave the story an extra poignancy to an already semi-tragic tale. Despite these changes, Dehn and Shaffer basically remained faithful to the novel. They even maintained the original solution to the mystery. Granted, the solution made ”MURDER ON THE ORIENT EXPRESS” one of the most unusual murder mysteries in the history of Hollywood, let alone the literary world. And although the revelation of the murderer(s) came off as somewhat inconceivable, it made the movie memorable . . . aside from the flashback that revealed Rachett being murdered. That seemed to last longer than necessary. I also have a different opinion regarding the fate of the murderer(s). When I had been younger, it never bothered me. Now . . . it makes me slightly uneasy. If you have read the novel or seen the movie, you will know what I am talking about.

Richard Rodney Bennett had received a great deal of praise and an Oscar nomination for his score. I thought it meshed beautifully with the scenes featuring the Orient Express’ departure from Istanbul . . . and its continuing journey at the end of the film. However, there were times when I found it a bit over-dramatic and slightly out of place for a murder mystery. I really admired Tony Walton’s production designs for the movie. I thought it truly invoked the glamour and magic of traveling aboard the Orient Express in the 1930s. And it also conveyed the claustrophobic conditions of traveling by train, beautifully. Surprisingly, he also designed the movie’s costumes. I can only assume he was trying to adhere to Sidney Lumet’s desire to recapture the old Hollywood glamour from the 1930s. Unfortunately, I felt that Walton’s costumes for most of the characters seemed a bit over-the-top. But I must admit that I admired his costumes for Jacqueline Bisset, Ingrid Bergman and Vanessa Redgrave’s characters.

In the end, one has to give Sidney Lumet high marks for putting all of this together to create a classy adaptation of an unusual novel. Granted, I have a few qualms with some of the performances, characterizations and the plot’s resolution. And there were times in the middle of the movie when Lumet’s pacing threatened to drag the film. In the end, Lumet’s direction managed to maintain my interest in the story. And ”MURDER ON THE ORIENT EXPRESS” remains a favorite movie of mine after 48 years.

"GAME OF THRONES" Season Four (2014) Photo Gallery

 

Below is a gallery of images from Season Four of "GAME OF THRONES", HBO's adaptation of the second half of George R. R. Martin's 2000 novel from his A Song of Ice and Fire series, "A Storm of Swords". The series was created by David Benioff and D. B. Weiss:



"GAME OF THRONES" SEASON FOUR (2014) Photo Gallery