Sûpâ no onna

Cute, wholesome fare. A housewife meets a childhood friend with a grocery store on the brink of being run out of business by a giant new rival (think Walmart), and goes to work for him. Naturally, she starts by laying off the employees who are incompetent (of which there are many), and identifies cost-cutting measures across the board, including working the employees who remain harder and paying them less. Hahahaha no, just kidding, she doesn't do that. This is a feel-good movie, with vibes that would make Frank Capra proud. She helps David (actually "honest Goro") stand up to Goliath by focusing on quality, integrity, customer service, and sticking together to resist the big company's strong-arm tactics. Goro is maddeningly incompetent and the rest of the characters are practically cartoons, but Nobuko Miyamoto's charm carries the film. I also liked how the romance didn't go the predictable route, with the scene that ended in laughter. I'm not sure I believe the high average rating this film has, but it's good-natured, family entertainment.

Not sure how one reviewer could call this stale, ? , I thought it was great , it suppose to be a nice gentle tale of two people and the market that brought them together. What I really can't understand is why Tampopo is not one of the movies listed at the bottom as recommendation. I don't think the ones that are there really fit , this is a fun movie and interesting to see the market and the behind the scenes operation. Wish I could see another like it, I wonder if I should just follow the director and see what he has done. My fav scene is the chase thru the market. Liked the oddballs standing up against the senior market guys.

What a delightful and bonkers feel good film! I think if this film were done in America, it would be extremely mediocre, but I think Japanese director Juzo Itami knows when to be subtle and when to be bonkers.

This is now my favorite movie, it's, another movie made by the same director starring the same woman s "Tampopo" - which i also loved

My favorite part is when Goro Judo tossed the meat thief - brilliant- hilarious and it made me cheer even though i was by myself, i still did, i don't care

apparently Goro was on every team in college, i just finished watching it and I'm still laughing

the carchase was great too, i was thrilled , the car chase was more exciting than any car chase I've sen in action movies in recent memory.

the 'love' scene was hilarious and refreshing too, and somehow - while not immediately apparent Hanoko's energy and personality is sexy - well, maybe just to me

10 out of 10

Juzo Itami's penultimate film Supermarket Woman has all the hallmarks of a movie intentionally trying to position itself for cult classic adoration from its quirky premise to the film's comic book-like aesthetic in terms of both its visuals as well as the comiclly clear-cut distinction of good-guys and bad-guys. Above all, Supermarket Woman feels like a film in which its visual motifs were created with the intention of selling real-world merchandise. I'd happily buy t-shirts with the logos of fictional supermarket rivals Honest Mart and Discount Demon.

The noble but failing Honest Mart is struggling against its absurdly evil rival Discount Demon, a supermarket run like a militaristic operation out of Imperial Japan (with their business meetings emitting strong Yakuza vibes). Discount Demon is the Chum Bucket to the Krusty Krab or Mondo Burger to Good Burger, thus it takes the ever-fabulous Nobuko Miyamoto as Hanako Inoue to use her womanly, housewife intuition to reinvigorate Honest Mart. Miyamoto's impeccable comic timing both physical and verbal has a real sense of contagious enthusiasm. Much of the sheer fun within Supermarket Woman comes from the screwball comedy-like antics of Hanako and her co-workers as they try to please customers and right various wrongs, from gathering hoards of shopping carts left in the parking lot to dealing with frustrated Karens on the verge of asking for the manager. Equally as memorable is Miyamoto's wardrobe of bright, contrasting colours. Even when she wears an informal blazer it is accompanied alongside tartan trousers and sneakers, in keeping with a character who never takes herself too seriously.

Just how accurate a reflection is Supermarket Woman of Japanese commerce in the post-bubble 1990s? It is unique to observe a wholly independent supermarket that doesn't trade under a franchise name (something which I've never even seen in my own country). This is emblematic of the world Supermarket Woman inhabits, one which presents Japanese supermarkets like the Wild West with the absence of any legal regulations or government oversight. Discount Demon is determined to eliminate the competition so they can raise prices, while both outlets engage in actions such as repacking food with a new expiry date, mixing meats and passing them off as more expensive cuts and even falsely advertising imported meat as being home-breed Japanese.

The exterior and interior of Honest Mart is a world of unbridled, Americana-inspired artifice with its frequent use of checkered patterns and bright colours (in particular the film's prominent use of pink and red) as well as a general warm and fuzzy atmosphere. To accompany this is the film's soundtrack to consumer capitalism - stereotypically, catchy department store music by composer Toshiyuki Honda. Can any lost media sleuths track down an isolated version of the score? As far as weirdly specific film accolades go, Supermarket Woman is the 2nd best Supermarket-themed film I've ever seen. The top spot goes to oddly enough, another Japanese film, Mikio Naruse's Yearning (1964). Recommend for a slightly more unorthodox double-feature experience.