Tampopo

This remains one of the better comedies of all time due to star performances, a superb script, and many, many surprises. Above all, the pacing is some of the best seen in any comedy.

Tampopo has all the qualities of good story telling: a hero, a disciple, a quest.

And when your hero is a trucker, the disciple a woman in need of help, and the quest to cook the best noodles then you know you're in for fun.

In between all this are vignettes on how food and life mingle. It is more than simple laughs there are moments of poignancy, and genuine flights of imagination.

Many directors could do well to watch the ease with which the camera is handled here: the plot flows beautifully and the switches to the small vignettes are handled with suitable aplomb.

All in all a three course meal.

Not a film to watch if you're hungry but one to satisfy any cinephiles appetite. Intricately woven and nested tales of food and love and Japan make it a joy to consume during these 'Boil in the Bag' days. No need for appetisers, aperitifs or digestives - everything perfectly prepared, blended and presented to complement, savour, absorb and relish. The healthiest meal your eyes will devour with the utmost passion and joy.

I watched this movie for the first time last night and I have to say, it was awesome. This is one of those rare movies that are made with so much emotion, you can't help but be affected by what's going on before your eyes. I found the movie to be funny, touching, shocking, sensual, weird, thoughtful, cute, etc. The love of food is apparent throughout the entire movie. It kind of reminded me of Like Water for Chocolate, the way food was revered in the story. The movie is done in an interesting way. Mainly, it's about a woman named Tampopo who is left in charge of her husband's noodle shop after he dies. Having problems with maintaining a general quality to the place, especially with the cooking, she receives assistance from a rugged cowboy-type. Along with several other characters, they help to turn the place into something special. Occasionally, the story veers away from this plot to follow other characters in food-related scenes. For instance, there's a vignette about a group of girls being taught how to eat noodle soup properly by an etiquette teacher at a restaurant. They notice another patron in the restaurant, sucking at his noodles loudly but clearly enjoying them. The girls then do the same thing, prompting the teacher to follow suit, all of them sucking away at their noodles with the most exaggerated sound effects I have ever heard. This results in a scene so hilarious that I had to stop it and rewind it after it was done. Soon after, the story goes back to Tampopo and the other characters in her universe. There's other characters that are returned to periodically, like this white-suited gangster and his moll. Their scenes are erotically charged and quite striking. It was funny but at the same time it just grabbed me attention wise. There's a moment where they pass a raw egg yolk back and forth through each others mouths without rupturing it. It's done slowly and erotically, the two lovers obviously enjoying this really weird thing we're seeing. I have to say I've never really seen anything like that in a movie. All in all, I was pretty much entranced from the moment the movie began. I really didn't think I was going to enjoy it this much! It's really funny and it shows a side to Japanese cuisine and how serious it is taken there that I had never known before viewing this. I recommend this movie from top to bottom and I think it has deservedly earned a spot in my all-time faves list! If you are interested in Japanese culture and you appreciate food in the least, you owe it to yourself to track a copy of this down and watch it, especially if you like a good bowl of ramen!

RATING: ***** out of *****.

Tampopo is a widow struggling to run a noodle shop called Lai Lai. Though she cooks with sincerity, her food lacks depth and flavour. After a chance encounter with a truck driver named Goro, Tampopo realizes that she must learn more about the culinary arts if her business is to succeed. Taking her under his wing, Goro goes about teaching Tampopo the intricacies of noodle soup making, determined to transform her restaurant into a paragon of culinary excellence. Meanwhile, a white-suited gangster and his moll discover new, erotic ways to express their love for one another through food; despite his enemies lurking ever-close.

Written and directed by Juzo Itami, 'Tampopo' is a beautifully constructed testament to the power of food that leaves the viewer hungry for more. Showing in great detail how food can be a source of pleasure, joy and love, the film is both heart-warming and life-affirming. A sharply written, richly humorous story about a quest for culinary perfection, 'Tampopo' is structured like a western, and can be seen as a homage to same. With its cowboyesque hero and narrative beats parodying conventions of the genre- such as the showdown and the saloon brawl- 'Tampopo' is a marvellous 'ramen western' packed full of flavour.

All of Itami's characters- from the titular chef to an ailing housewife- are ones of depth, crafted with intelligence, wit and warmth. His sub-plots, varying in length, explore how food brings people together, both emotionally and physically. Be it the vignette involving a spaghetti eating etiquette class or the aforementioned ailing housewife, these individual stories reinforce the film's overall message. Sensual and erotic in places, 'Tampopo' offers viewers a delicious blend of comedy and drama that goes down smoothly. Itami's second film, it is arguably his masterpiece; and one whose universal story resonates still.

'Tampopo' features striking cinematography from Masaki Tamura, whose expressionistic work in films like 'Lady Snowblood' and 'The Assassination of Ryoma' helped cement his reputation as one of Japan's finest cinematographers. His work for 'Tampopo' is undeniably powerful and dynamic, heightening the film's themes, tone and narrative impact. Utilising a variety of camera angles, movements and transitions- such as zooms, tracking shots, fades and pans- he helps foster the film's lively and humorous tone, as well as its connection to the western genre.

Furthermore, Tamura's work helps maintain a sense of realism throughout 'Tampopo', with his use of natural lighting, locations and colours creating an authentic depiction of 1980's Japan. His usage of visual metaphors and contrasts- be it of a Japanese flag on a rice omelette symbolising pride and identity, or an egg yolk referencing fertility-serves to bolster the films themes, while also remaining visually beguiling. Throughout the film, his work impresses and enthrals; leaving an indelible impression on the viewer.

As do the performances from the cast. There could be no one better for the titular role than Itami's muse and spouse Nobuko Miyamoto, who imbues the character with an infectious energy and lust for life. Itami and Miyamoto created many rich characters in the ten films they made together, from 'A Taxing Woman' to the 'Supermarket Woman'; and Tampopo may be the most compelling of them all. Alongside her, Tsutomu Yamazaki delivers a masterclass in understatement as Goro, playing him with a wry charm and subtle strength- almost like an Eastern Clint Eastwood. Koji Yakusho also shines in the role of the white-suited gangster, stealing every scene he's in with his charisma and magnetic screen presence.

An energetic, enthralling motion picture, Juzo Itami's 'Tampopo' is almost certainly the director's magnum opus. An affecting meditation on the importance and power of food, the film can make one cry and laugh in equal measure. Featuring an engrossing narrative, beautiful cinematography from Masaki Tamura and power-house performances from all in the cast, 'Tampopo' is delicious, delightful and a real cinematic treat.

Truck driver Gorô and his young sidekick Gun (Ken Watanabe) stop at a rather sad looking noodle shop. They rescue a boy outside from bullies who turns out to be the son of the widowed shop owner Tampopo. Her noodles are not good and she begs Gorô to be her teacher. In desperation, she even tries to buy and steal a soup recipe. They find homeless people who are cooks. With other experts' help, they refine the noodle shop to greater heights. Meanwhile, there is a gangster in a white suit and his girlfriend testing the boundaries of food erotica. Others vignettes also show people with food.

This is a strange and wonderful celebration of food. The characters are lovely. Gorô is a cowboy of sorts and even has the hat. It treats the noodle with reverence. Not all of the minor vignettes work but they add to the quirkiness. The old lady who squeezes is odd as hell although I wouldn't call it funny. It's an unusual movie wrapped around a sweet noodle story.