Categories
Hungry Memphis

Front St. Deli Slated to Reopen by November

The Tandem Restaurant Partners — Tony and Stephanie Westmoreland in collaboration with Ryan Marsh — are the new owners of Front St. Deli, the iconic restaurant at 77 South Front and Union.

 The eatery, which was featured in the 1993 film, The Firm, is slated to re-open by November.  “Hopefully, in three months we’ll get her back open if not sooner,” Westmoreland says.

Tandem Restaurant Partners operates several Memphis restaurants, including Carolina Watershed, Side Car Cafe, and Ben Yay’s. “You’ll see us partnering with other restaurateurs to open up new concepts.”

Marsh, Westmoreland adds, will be involved with “what we do as a whole and getting this [Front St. Deli] up and going for us.”

Marsh, 31, the newest member of Tandem Partners, moved from Pennsylvania to Memphis when he was 14. He previously was operations manager for MOXY Memphis Downtown hotel across from Court Square.

Why did he want to get involved with Front St. Deli? “It’s the oldest deli in Memphis — over 45 years old,” he says.

And, he adds, “I’m a big fan of Memphis, a big believer in Downtown and the history we have down here.”

It’s important for him to help bring the Front St. Deli project to life and “bring it back to its former glories.”

Tom Cruise plays Harvard educated tax lawyer Mitch McDeere in the movie, which was filmed  in Memphis. All  the sandwiches were named after Cruise movies.

Those sandwiches will remain, Marsh says. “Tony and I put our heads together,” Marsh says. “Number one, I want to keep the Deli as close to what it was before. And Tony had a great idea to include some hot food, too. And we want to start bringing in gourmet hot dogs.”

Marsh also has a side goal: “I would like to bring authentic Philly cheesesteaks as well, But that’s still in limbo.”

And maybe open later using “third party delivery service like Uber for sandwiches and hot dogs for the Downtown community,” 

And, Westmoreland says, “We have all the recipes. All the intellectual property came with the business.”

They will be “tweaking the menu, perfecting it, and making sure what we’re doing makes sense,” Marsh says. “The way the menu was structured before, it was all over the place. We want to simplify everything and eventually turn it over to where we’ll have a few cooks and I’ll be heading the day-to-day.”

Look for more room at Front St. Deli. “We’ll be going through negotiations over the next two and a half months to do an update,” Westmoreland says. “Not only update the building itself, but the outside facade.”

They’re working with the building owner to add two garage doors in front.  “So, you can open up Front St. Deli  to the public on the street side and enjoy Front Street not just from the inside, but outside as well,” Westmoreland says. “We’ll be reorganizing the inside to facilitate more people so you’ll have more seating. The goal is to have 10 to 15 people fit inside as well as outside.”

They want to “keep it as authentic as possible. Not change much. Keep the history of it. Keep it as close to the original as possible with just size changes and some rearrangement to get the capacity as full as we can.”

Front St. Deli “falls in tandem” with some of the other properties they have partnered with, including Hernando’s Hide-a-way, “one of the oldest music venues,” and Growlers, “being one of the nostalgic music venues in Memphis,” Westmoreland says. “Trying to preserve that nostalgia. And I think Front St. Deli is the same motive. Trying to keep Memphis the Memphis we remember growing up.”

Front St. Deli (Credit: Eric Bourgeois)
Categories
Film/TV Film/TV/Etc. Blog

Memphis Movies in May Continues With The Firm

Gene Hackman and Tom Cruise in The Firm.

Usually, Memphis in May honors a country like Chile or Sweden, in the spirit of cultural exchange. But this year marks 200 years since the founding of Memphis, so Memphis in May has officially decided to honor Memphis. Every year, Indie Memphis brings films from the honored country to town, and this year, in concert with the Memphis and Shelby County Film and Television Commission, they’re presenting a retrospective of films shot in the Bluff City.

Last week, Craig Brewer’s hip-hop classic Hustle & Flow screened to a big crowd at the Paradiso. It was most of the world’s first look at how Memphis sees ourselves in the 21st century. This Wednesday, Indie Memphis brings The Firm to the Paradiso — the first look a mass audience got of the city since Elvis.

The story of the film begins with a legal thriller by John Grisham, a Memphis lawyer turned Mississippi legislator who pursued an unlikely dream of being a novelist. His first book, A Time To Kill, was a minor hit, but nothing compared to The Firm, a bestseller which earned him a huge movie deal. Directed by Sydney Pollack, the film adaptation starred Tom Cruise as Mitch McDeere, a Harvard Law graduate who gets a job offer from a prestigious law firm in Memphis. After convincing his wife Abby (Jeanne Tripplehorn) to move to the city they know nothing about, he is taken under the wing of Avery Tolar (Gene Hackman), a partner at the firm of Bendini, Lambert & Locke. What happens next is like Training Day, only with lawyers instead of cops.

Producer Michael Hausman, who helped shepherd Amadeus and Silkwood in the 1980s, was instrumental in getting this film in Memphis in 1992, and would go on to bring The People vs. Larry Flynt production here a few years later. He would later go on to work with Ang Lee on Brokeback Mountain.

The Firm‘s plotting is solid, and if it feels a little cliched now, it’s mostly because the hugely successful film been copied by TV shows for years. But for Memphis audiences, it’s not a series of unfortunate haircuts and just the origin of the “Tom Cruise Running” trope that’s interesting about the film. It’s now a scrapbook of what the city looked like in the 1990s. For many, it was the first time anyone knew we had a monorail here. (You did know we had a monorail here, right?)

The Firm will screen on Wednesday, May 8th at 7 p.m. at the Malco Paradiso Theatre. You can get your tickets here at the Indie Memphis website.

Memphis Movies in May Continues With The Firm

Categories
Opinion Viewpoint

Lights, Cameras, Action!

Now is the time to call for support of Tennessee’s film/TV/music incentive fund. It has suffered the last six years from being too little, too late, and too confusing. However, the stars seem to have aligned for action. Consider the following:

First, the Haslam administration has focused on streamlining the fund and attempting to support it financially. It is laudable that the administration has reached out to Tennessee’s most famous filmmaker, Memphis’ Craig Brewer, for guidance in developing the current program.

Shelby County state senator Mark Norris has done much as Senate majority leader to garner financial support for the fund. Thanks to the efforts of all, the program’s confusing former structure of two incentives with differing criteria has been overhauled. Recurring funds, although relatively small, are available for the first time.

Second, since April 2012, Nashville has played host to a hit network primetime series, ABC’s Nashville, which is providing millions in free advertising for the city and its country music industry.

The entertainment community in Nashville has benefited from hundreds of well-paying union crew, cast, and music jobs. The state’s power structure is witnessing firsthand the big bucks paid to diverse Nashville vendors — for accommodations, catering, rental cars, location fees, production assistance, equipment rentals, music-licensing fees, construction supplies … the list goes on and on.

In 1989-1990, Memphis also hosted a network primetime series, ABC’s Elvis: Good Rockin’ Tonight!. It was said at the time to be the most expensive TV series on the air, at $1 million per episode. Other big spenders followed. In 1996, Milos Forman’s The People vs. Larry Flynt left $7,642,000 in documented direct spending in the local economy and created 128 local full-time union jobs.

The Firm, Hollywood’s postcard of Memphis, left $6,545,000 in documented direct spending in 1993 and created 122 local full-time union jobs … and changed Memphis tourism forever. Even Walk the Line, with a much smaller budget of $24 million, left $3,698,519 in 2004 and created 192 local full-time union jobs.

However, in recent years, most remembered have been Memphis’ losses to states with more aggressive film incentives. Losses such as the TNT series Memphis Beat; the Academy Award-winning film The Blind Side; and Craig Brewer’s remake of the classic Footloose, which also could have been set and shot in Memphis.  

How do Tennessee’s state film incentives stack up against those of other states? Tennessee’s film/TV/music incentive comes in the form of a cash refund, a grant. Although Tennessee’s strongest competitors, Georgia and Louisiana, offer even larger refunds of up to 35 percent, their refunds come in the form of tax credits, which have the added hassle of being bartered and sold, often at a discount.

Unlike its competitors, Tennessee’s film/TV/music incentive program generally does not count payments to out-of-state hires and out-of-state vendors. Although Tennessee’s $200,000 minimum in-state spending is discouraging to Memphis’ independent film and music community (famous for making art on a budget), no one can accuse Tennessee’s film/TV/music incentive program of being a giveaway program.

Our program requires a relatively low investment in tax dollars for a high return, compared to other states. But here’s the hitch, a major one: Tennessee’s film/TV/music incentive fund is almost out of money. It has less than $1 million left. What if Nashville is picked up for another season on ABC? That’s at least another $7 million needed in incentives.

Molly Smith and Alcon Entertainment are bringing the Broadway hit Memphis the Musical to the big screen. Smith wants to shoot it in Memphis. Although the budget’s not been finalized, it’s reasonable to expect another $7 million may be needed to bring this production home.

And what about Craig Brewer’s next project? Memphian David Evans (The Grace Card) is contemplating another film, as is Memphis filmmaker Julius Lewis (N-Secure). Will there be funds to help them? Right now, filmmakers can only count on $2 million in recurring funds each year.

Although incentivizing the state’s entertainment industry offers a tremendous payback in dollars, jobs, and tourism, the business — like all big business — obviously requires an investment from the state. And that’s what this is all about: investment. 

So now is the time to call for support of Tennessee’s film/TV/music incentive fund and the creative, hard-working Tennesseans who’ve made the industry their life’s work.

Linn Sitler is director of the Memphis and Shelby County Film and Television Commission.