This presentation examines the use of food as marker for, first of all, ethnic identity and, equally as significant, for generational difference. Like other films dealing with food, Bob Giraldi's Dinner Rush discusses food as both identity marker, in this case, for Italians in America and indicator for shifts in generational dynamics among them, especially between father and son. Dinner Rush also deals with the identity of Italians as members of organized crime, this two a signifier for generational difference and, we might also say, food.Luigi, the father of an aspiring nouveau Italian cuisine chef Udo, suffers the loss of his old friend and business partner to a criminal element because of gambling difference and turf. At the same time Luigi is bent on retiring and giving over his restaurant to Udo. Throughout the film, a series of episodes, seemingly unrelated, all speak to the notion of ethnic identity and generation differences through the sign functions we can readily assign to food. One of the outstanding motifs is the difference in the conceptualization of Italian food. Whereas in most films we witness the difference between "Italian" and "Italian-American" food, such as in Tucci and Cambell’s Big Night, in Dinner Rush the difference in types is one among "Italian-American" cuisine in the traditional sense, one might say “Americanized” — and not just meatballs but also hot, homemade sausage — and a newly stylized "Italian" cuisine that is not much different from what one might witness in some of the more exclusive Italian restaurants of metropolitan areas such as New York City, especially the borough of Manhattan.