Tampopo

I first saw this film on TV around 1990 and loved it. Its one of those films that you put on your mental list of films to see again. My girlfriend managed to buy an Japanese import subtitled version for Xmas and we sat down to watch. Tampopo is a film that starts interesting and slowly draws you in until you realise you sat for an hour and a half mesmerised. Its one of those films that when the lights go up you're not sure what you just watched but somehow it all made sense and you know it was very special. This is a film for life. I won't watch it every week but everyone I loaned it to came back with the same comments as myself. There are moments of sheer beauty that make your eyes fill up with joy. Several times I had to hold back a sniff, Damn I wanna cook noodles now. If Tampopo doesn't capture your heart then maybe you miss the point of film making as an art.

This movie is not, I repeat, is not intended for the typical movie goer. It is not to be forgotten a day after having been seen. It should be watched repeatedly, gone over with a solid spoon for thorough digesting. Not everyone who sees it will love it at first. But anyone who gives it a willing and open mind will find a deep respect within drawing them further into the movie. Should the simple viewer happen upon this movie, it is necessary to understand that it is not an American movie and only slightly emulates one, therefore it must be expected that certain aspects of the film will escape one at first. There will be certain chapters of the film which appeal more than others, but it is crucial to make an effort to be considerate of the fact that Juzo Itami was not necessarily making Tampopo up to be an international success. What is truly mindblowing is that this movie is nearly twenty years old! I am completely in awe each time I see this movie, and it never fails to make me stop and watch as Goro is instructing Tampopo on why the customer must, MUST, be observed upon entering the shop while Gun complains that the pork slices are too thin. Slap, slap, don't you want to see how the customer reacts? Isn't it strange? How do we relate in this tale? Pick it up, become an addict, never see another movie the same way ever again.

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.

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.

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.