O Cheiro do Papaia Verde

As far away from Terminator as you can get. This gentle-paced story has followed me for years. Long after I forgot most of the story-line, the mood has lingered on in my heart and my mind. This is film as Art and not mere entertainment in the same was as Tolstoy or Tjechov is Art as opposed to the dime-a-dozen love-novels found in cheep kiosks. The acting is excellent and convincing, the spars dialog is natural, the photo is almost breathtaking and the original score by modernist contemporary vietnamese composer is superb. This is cinematic contemplation.

One of the purest films ever made, this movie captures a sense of utter peace and spirituality, drawn from the main character's constant sense of wonder, awareness of her surroundings, and the pleasure she is able to take in simple daily tasks. It is also an expression of the true nature of the medium, since there is no forced tension or plot points, and the camera explores its world in perfect freedom, and with perfect curiosity (to suit the main character, who is filled with curiosity for the world around her, often taking time to simply stare at the objects around her, as an ideal camera should). Some say that the "problem" with this film is that it lacks tension, which to me seems to be an odd attitude--why should a movie "require" forced dilemmas in order to be considered good? (particularly when film is such a good medium for expressing both every-day reality AND for expressing states of mind--in this case, the filmaker wanted to express a sense of quietude, which is perfectly legitimate, very real, and is well suited to the medium). In fact, if this film has a tiny fault, it is in the few moments where there does exists some tension, which take away from the pure sense of personal peace and wholeness that the film so perfectly expresses. And it goes without saying that this is a perfectly constructed "poem" paying tribute a particular feeling and state of being (a state of being which is tied to the true nature of the camera medium), and that its plot is not the focus (nor should it be, in a film attempting to simply portray reality and express ideas/emotions in a way that is suited to the medium). Also needless to say, every shot is beautiful, carefully framed, and the flow of the movie (in editing, acting, and music) is natural, expressive, musical, and in a word, "perfect".

We should all seek to be more like this main character, and this camera, in our awareness of the world around us and our ability to find peace with the reality of everyday life. One of the greatest things film can do for us is to make us reconsider the basic nature of the reality that surrounds us, and allow us to consider different ways of viewing it, allow us appreciate its inherent texture. This film does this.

It is a shame that there are so few films made with this purity--that most films attempt to force meaningless tension and artificial dilemmas on us for no greater purpose than to distract our minds, and in the process they clash against the medium's natural tendencies and potentials. (note: I'm not claiming that tension is inherently bad, or that great films can't be made that way, but in most films the tension and dilemmas are forced, and in most films they goes against the camera's natural "state of being", and in many films this tension has no artistic purpose, even in films that are actually trying to say or express something).

Regarding this filmaker's other film, "The vertical ray of the sun": visually it is even more beautiful than this film, and in parts it expresses an even purer sense of peace... however, it does contain some overly strong moments of tension and dilemma that seem totally out of place within its calm style; also, although I have downplayed story and character in the above discussion, Green Papaya does have a well drawn and beautiful story that even has some mythic resonance (or more importantly, the main character has these things). "vertical ray" on the other hand, does not have such resonant characters or plot points, though admitedly it is more beautiful in some ways. However, i have seen each film only once, so I may change my mind about "vertical ray"--and regardless of any slight misgivings I have currently, I do recommend it as an important film experience.

To say movie is beautiful will be understatement. Movie moves with extreme calmness yet refreshingly different and visually appealing. What impresses most about the movie is, it tells the story of a family girl and how she identifies her in the surroundings, with the family he is living and more importantly with his emotions. Slow pace of the movie helps the calm effect and suddenly takes the viewer by surprise the way story unfolds. The way little girl learns the art of cooking, they way she learns about the secrets of the family is impressive. More importantly hidden desires of the girl shown in the movie is the master stroke of director. Music needs special praise so as acting.

Stunningly beautiful!! 8/10

It's not easy to make movies that represent part of the past in your area. the scent of green papaya movie mention of about fifty years ago in the Taiwan region of the film's history. The movie shows the life style and middle and lower class behaviors in the midst of a relatively quite reach family that is struggling with its own problems. Paying to the subject of the story takes time well, so time spend less during watching the movie. Seeing this movie, you're in the midst of movie, and as a member of this family, you're having troubles. The key point is the communication gap, and even gender, is respect for Taiwanese lifestyle in the past. The form and shape and even the look from top to bottom, in the order of the family, indicate the distance between its members. We are faced with a situation in which the husband of the family goes away and noone not aware of him, and The The grandmother define the bride mistakes, and the contemplative consideration is to accept the responsibilities of the bride of the family. The key points during this sequence are the inner roar of the second son of the family against this attitude that leads to abnormal behaviors. All of this is seen as a rural girl looking at a house as a maid. He is a very disciplined and loving one, he takes the steps of progress in his growth and becomes a successful woman even more than his own limit. It can also be viewed from the perspective of luck, but what matters is the success of Mui to the achievement of its wishes that are contemplative and loving and in keeping with the audience's desire. Ultimately, the overall outline of the movie is a good start, an interesting continuation, but lastly, an unconventional one, it can be imagined that a good score could ultimately be made for this film.

In Tran Anh Hung's debut film The Scent of Green Papaya, Mui (Lu Man San) is a ten-year old girl who comes from a small village to the home of a wealthy Saigon merchant to work as a servant in 1951. The first Vietnamese film ever nominated for an Academy Award as Best Foreign Language Film, Scent of Green Papaya captures the natural beauty of pre-war Vietnam, even though it was filmed on a set constructed in a Paris studio. Mui personifies the innocence of a Vietnamese society where grace and harmony has not yet given way to bombs and destruction. Mui accepts her place with patience, serving the meals, preparing the vegetables, scrubbing the floors, and polishing the shoes.

True to the Buddhist ideal of being in the present moment, Mui studiously carries out her tasks, refusing to be affected by the torments of the younger son Tin (Gerard Neth), upset over his father's desertion of the family. She observes her natural surroundings in great detail: ants carrying a small piece of bread, a frog sitting on a leaf, a cricket jumping at night, and the seeds of a green papaya. The mother (Thi Loc Truong) is distraught over the recent death of her young daughter To and looks upon Mui as her replacement, perhaps even her reincarnation. In one scene, the mother stands over Mui while she sleeps and weeps silently for the loss of her daughter and perhaps for a Vietnam that she knows will soon disappear.

Her husband (Ngoc Trun Tran) is a drinker and womanizer who has run off with the family's money. The mother is stoic and we only hear about her problems through the elderly grandmother (Thi Hai Vo) who mourns her dead husband alone in her upstairs room. The second part of the film shifts ten years into the future. Mui (Tran Nu Yen-Khe) has become a young woman. Because of the family's financial condition she has moved to the house of Khuyen, a professional musician and composer (Vuong Hoa Hoi). Her leaving triggers in the mother a profound sense of loss for her "daughter" and a sense that the old way of life in her country is coming to a permanent end.

In her new house, Mui must contend with the musician's Westernized fiancé who personifies the artificiality of modern society. Annoyed with the insensitivity of his fiancé, Khuyen sees Mui with fresh eyes and begins to realize how much she embodies the traditional values he has left behind. Though the film may try the patience of Western audiences, The Scent of Green Papaya, in its simplicity and awareness of the natural world, reminds us of the power of cinema to reach artistic heights.