Restaurant review – Obicà 19-20 Poland Street, Soho, London

By Roger Crow

‘Obicà Mozzarella Bar, located in the heart of Soho, London, is an Italian restaurant and pizzeria that prides itself on offering the finest Mozzarella di Bufala Campana, along with a variety of traditional Italian dishes, all within a warm and welcoming ambience’.

That’s sort of the official line from the company, but how accurate is it?

Well, there’s certainly a warm welcome when Mrs C and I arrive early and sit outside, soaking up a few rays before our lunchtime booking.

Photos care of Obica.

At the core of their menu, we find an exquisite assortment of mozzarellas sourced directly from the lush plains of Campania. 

And as we were lucky enough to sample the real thing on our first trip to Italy a few years ago, there’s no difference between the quality in London or in Naples. 

The accompanying rustic bread with fresh basil leaves, olive oil and delicious tomatoes, it’s quite easy to fill up on carbs before the main arrives. Especially when I find the balsamic vinegar, and suddenly the bread takes on a new flavour. Seriously, if you’d told me as a kid that balsamic vinegar existed, I’d have asked for it every birthday rather than have to wait 30-plus years to find out. The restaurant’s aged Modena brand is so good I need to track it down immediately.

Photos care of Obica.

Anyway, back to now, and my main is a no-brainer. The lasagna with beef ragu (£15.50) is to die for with perfectly cooked layers of fresh pasta, delicious sauce and cheese complimenting one another perfectly. There’s a very generous portion which proves very filling, so I reluctantly have to leave a third, which is a sacrifice worth making. 

Rachel opts for an equally delicious vegetarian option: Trofie with basil pesto, potatoes, green beans and pine nuts (£13) melts on the tongue. A delicate mix of flavours that rewards the diner with each mouthful. 

It’s a Saturday lunchtime and it doesn’t take long for the place to start filling up. Obviously with the pandemic and global economy affecting the dining trade, times have been tough over the last couple of years for every restaurant in Blighty, Italian or otherwise, and it’s good to see business thriving once more. Given the quality of the food, and the not bad prices (especially considering it’s London), I doubt Obicà will have much trouble selling their summer menu in the last few weeks of what has been a hit-and-miss season on the weather front.

Photos care of Obica.

We consider calling it a day, but the more I chat with the general manager about the desserts (they don’t do cannoli sadly), the more I realise we can’t leave without sampling something sweet. And as I’m hard-wired to try tiramisu in every decent Italian we visit, it’s not long before a trip of mini desserts have arrived at our table. As this version of my favourite sweet treat is alcohol-free, there’s just that pure hit of chocolate and caffeine. It’s almost a crime not to have one before you leave. An equally delicious mini baked cheesecake also hits the spot, as does the Torta Du Capri, or flourless chocolate and almond cake with Italian gelato. They’re a fiver each, and worth every penny. 

Every photo I take of the food could have been used in one of their online adverts, which is more to do with their visual presentation rather than my photography skills. 

Good food can be a temporal gateway to another country and another time; one mouthful of good lasagna can transport me to Rome or Naples, but also back in time 50 years to those first mouthfuls of pasta when you’re a kid and your realise for the first time how fun slurping pasta can be. Our palates may become more sophisticated as the years fly by, but we never forget great food, a great restaurant, or good staff, and Obicà in Soho ticks all those boxes. We may not be dining in the shadow of the Colosseum, but the spotless decor, and welcoming ambience is enough to make us want to return sooner rather than later. 

Graze mille you lovely Obicà people. 

Film review – Maestro (2023)

Starring Bradley Cooper, Carey Mulligan, Maya Hawke

Directed by Bradley Cooper

By Roger Crow

Making a biopic of a genius composer conductor like Leonard Bernstein was never going to be easy. Do you get two or three actors to play him at different stages of his life, or one guy with some good make-up? In the case of Maestro, the latter, though the fact Bradley Cooper plays Bernstein has led to some controversy as you’ll have probably read elsewhere.

Bernstein was a complex character, juggling his work with a complicated love life. It seemed he loved everyone and everything, and had a tricky time hiding the fact, especially from his wife when a new guy caught his eye. 

From the opening featuring a seasoned Leonard, we flash back to the early days shot in sulphurous black and white. The dialogue has a machine gun patter, with actors barely pausing for breath. And the cast is terrific, including Maya (Stranger Things) Hawke as his daughter, Jamie. However, it’s really a film about two performances: Carey Mulligan, who gives a Best Actress-worthy turn as Felicia, aka Mrs Bernstein, and Bradley, whose make-up is so good, especially in 4K HD, you really can’t see the join.

And there are times when he really becomes the genius who breathed life into West Side Story, and so many other beloved classics. Like John C Reilly in Stan and Ollie, it’s a remarkable experience watching him do his thing, embodying an acclaimed artist, while also directing the film he co-wrote and produced. How good Cooper’s tea-making skills on set were we can only imagine, but I imagine it’s one of the best cuppas you’ll ever taste. 

One scene where Bradley conducts an orchestra (crucial to the film’s authenticity) makes you wonder whether he could do it for real. I’m guessing the answer is a resounding yes. 

When Brad picks up an armful of gongs on Oscar and BAFTA night, naturally a new wave of viewers will warm to his latest movie. If nothing else, it’s proof that Cooper’s take on A Star Is Born was no fluke. And this also features a tear-jerking third act which generates that all-important sucker punch. Be warned: hankies will be required.

The cinema verite style, with locked-off cameras, creates a naturalism reminiscent of Woody Allen’s best works. And it’s a lot easier for an actor/director to shoot a scene when they don’t have to worry about tracking from A to B. 

You will have to keep up because there’s no spoon-feeding regarding the era. No title cards to tell you when we are, but like all film makers who treat their audience with respect, the rewards pay dividends. I can only imagine how Cooper is going to top this, but then again, that film’s title doesn’t just refer to the character at the heart of the drama but the man playing him. Yes, he’s that good. 

Cast 9

Direction 9

Make-up 9

Editing 8

Score 9