Restaurants

Blacklock is the fourth restaurant of that name – there are others in Soho, Shoreditch and the City of London. It sits in a former royal coach-makers in an alley near the Garrick Club under signage that says ‘Chop’. We descend to a cavern. The walls are exposed brick, the floors are dark wood, and the ceiling hangs over exposed pipework. There is a map of a more ancient and more interesting London on the wall, from the days in which chop houses were as common as raw sewage, or horses. It’s fiercely brown; committed to brown; washed with brown: chairs, tables, light fittings, food. There are tables of men looking expansive like Italian rugby fans. They love Blacklock for its brownness, its simplicity and its blood.

I was going to be jolly this week, for variety and denial, but I changed my mind. Instead, I wonder if, when Vladimir Putin – insert your own nickname, mine is unprintable – talks about the weakness of western civilisation (I paraphrase) and, therefore, our unwillingness to resist tyranny in the shape of a balding paranoiac unwisely given Botox by a beautician who lied to him because everyone lies to him, he means Fallow, which is a new restaurant in St James’s. I wonder if Putin has been to Fallow wearing a prosthetic head and, if so, did he do the soft launch or the hard one? Did he steal more hair? He has stolen so much money from Russia he could afford a room full of prosthetic heads each with their own hair. (You can buy hair on racks at wedding shows.

Langan’s, a brasserie off Piccadilly with curling orange neon signage calling its name, is under new management after it fell into administration in 2020. It is a famous brasserie — London’s version of La Coupole — once owned by Michael Caine, a famous actor, and Peter Langan, a famous drunk, who would crawl across the floor and bite customers’ ankles and who once put out a kitchen fire with champagne. It opened in 1976 on the site of Le Coq d’Or and was treated by the diary columns as a person in itself, as famous as Annabel’s, Peppermint Park and the Ritz Hotel. Lucian Freud and David Hockney and Princess Margaret came here.

‘The opposite of a correct statement is a false statement. But the opposite of a profound truth may well be another profound truth.’ That’s Niels Bohr. Or, as Oscar Wilde put it: ‘In art there is no such thing as a universal truth. A truth in art is that whose contradictory is also true.’ Like physics and art, many other fields require that you embrace contradictions — because you can’t avoid them. Take innovation. Yes, a great deal of progress is combinatory: two or more technologies are combined to accomplish some hitherto impossible task. But, as the Soviet-era scientist Genrich Altshuller noticed, much innovation follows the opposite path, separating things which were previously combined.

It is a truism that there is never enough schnitzel (‘slice’, German); or, rather, schnitzel does not get the attention it deserves. Restaurants do serve it, of course. Fischer’s does a fine Wiener schnitzel, as part of its riotous pre-war Vienna tribute act, and elderly people, I am told, queue for it while wearing slankets. Brasseries sell it often: the perhaps unconscious desire to re-enact the meals of the Weimar Republic is one of the stranger things of the age. The Coffee Cup in Hampstead serves it with a jaunty side order of spaghetti pomodoro. But the (chicken) schnitzel has never had the stardust of the less interesting but more widely beloved hamburger; perhaps it is because cows are bigger.

Whitcomb’s is in The Londoner hotel on the south-west corner of Leicester Square. The Londoner calls itself ‘the world’s first super boutique hotel’, which may mean that it is the world’s biggest small hotel. Or its smallest big hotel. I don’t know. Whatever its existential status, the developers destroyed an art deco cinema — the dour and lovely Odeon West End — to make it, and it looks like a piece of bright blue infant Lego with lesions for windows. Heritage organisations objected to the cinema’s destruction. Westminster council replied: who cares? We need Lego with lesions, or anything that looks like Lego: look at the Hotel W round the corner. That looks like a giant Lego fridge!

A French creole restaurant rises in the sullen ruins of London. It is called Louie, for French king or trumpeter, depending on your wish. It is next to the Ivy — now a private members’ club and franchise stretching to the London suburbs bearing small bowls of shepherd’s pie — and it is infinitely preferable. That is, I can get a table, and no pastiche medieval windows or tabloid photographers are involved. It’s a terrible thing being jostled into a gutter so someone can photograph the former cast of Crossroads. The Ivy is the Love Island of grand restaurants. It is for the spuriously famous, which is now everyone. The zeitgeist cries: we’re going to need a bigger Ivy. Or at least it used to. Louie is a small, golden rebuke.

Imad’s Syrian Kitchen is an eyrie off Carnaby Street, a once-famous road which seems to exist nowadays to sell trainers to tourists who have fallen, as if by wormhole, out of the Liberty homeware department with its pathological dependence on florals. No matter. Nearby, in Kingly Court, which is like Covent Garden before it fell to Dior and Apple, more interesting things happen: the sort of things that London, so sunken, needs. Kingly Court is charming because it invokes an ancient coaching inn — London was once filled with them — and it is, due to the presence of independent eating houses, still palpably bright, pleasing and alive. The restaurant is likewise cheerful: wooden floors; pale walls; blue windowsills; blue tiles; a beamed ceiling; photographs of Damascus.