L'Odeur de la papaye verte

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.

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

The tip of film who seduced without a sure cause.

A sweet powerful flavor of memories, time's ash, images of other secret age, spell of a subtle shadow.

Poem of silence, slice of amazing dream, form of cult for ambiguous god.

Wall of a delicate world of small gesture and impressive light.

Signs like stairs, warm remember and love like reality's skin.

Trip of soul on personal space before the Fall.

Is it a masterpiece? No! Is it a beautiful movie? No! It is only prefiguration of self desire, escape in Golden Age.

This stunningly beautiful film has a strong Buddhist theme, so it's unsurprising that many American viewers were perplexed by it even while captivated by its beauty. It is the story of Mui, a poor servant girl ... except she is no ordinary servant girl, she is an Enlightened One. She lives totally in the here and now, and sees and appreciates everything (and so do we, thanks to the breathtaking color cinematography). She quietly goes through her ordinary life, giving every tiny moment all her attention and invisibly enriching the lives of all those around her, until near the end of the picture she is given off to a family friend whom, coincidentally, she has fancied since she was little. He is engaged to another woman, but one day he picks up a bust of Buddha, and stares at it with recognition, realizing suddenly that the face and the smile of the Buddha are something he has been seeing every day, on Mui. He sees her for what she is, and both their lives are transformed. Even more astounding than the richness and beauty of this film, is the feat of finding two wonderful actresses 10 years apart, to play the same very unusual girl, both identically beautiful and graceful and having the Buddha smile. Intoxicating and unforgettable.

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.