Tampopo is a cinematic appreciation of Japanese food culture. Writer and director Itami also has some love of cinema things, but it’s all about the food. Even when it’s played for humor. Or for nurturing. Or for sex. Sexy foodstuffs abound in Tampopo.
But Tampopo is also this traditional narrative. It’s a Western’s narrative, but it’s a narrative. Truck drivers Yamazaki Tsutomu and Watanabe Ken intercede on the behalf of a woman’s honor (regarding her position as the owner-operator of a ramen shop). It’s Shane, okay? I didn’t realize it until the end but it’s Shane. You don’t think a lot about the narrative because it’s very reserved, sort of muted. The humor’s easier and less ambitions.
Miyamoto Nobuko is the woman. She’s also Tampopo. She’s a widow, with a kid, a suitor, the failing business, questionable ramen cooking talent. Yamazaki agrees to help her learn. He sets up assorted, eclectic instructors and occasionally bewildering, always entertaining lessons. And he falls for Miyamoto, but he’s just a traveling man. Or is he?
There’s no question about Miyamoto’s shop eventually being successful. It’s just how long it will take. The film starts not with the main cast but with Yakusho Kôji. He’s sitting down to watch a movie with his lady friend (Shinoi Setsuko). He likes movies and food. No talking during movies, as someone finds out. But eating during movies is fine. Just quietly.
Then Itami kicks off the main plot with some didactic structuring. But it turns out to just be a mold. He doesn’t keep it. He keeps the same kind of asides, just without the overlay. The asides (because sketches would require cameos and everything else seems to need quotation marks)–so, the asides. These asides have no narrative requirements. Itami can do whatever he wants. Or can get an actor to do involving an egg yolk. Tampopo is a lot. It’s also brilliantly edited by Suzuki Akira. Suzuki’s got to have showy cuts to match the content because Itami’s always matching intensity with content. There’s a tension between the two and it gives Tampopo its anticipatory energy.
That energy stays consistent throughout. Suzuki and Itami keep the same pace during the main plot scenes as they do the asides. It’s really cool.
Great photography from Tamura Masaki and music from Murai Kunihiko. The film never gets long, the asides stay fresh. The acting is great.
Yamazaki takes Miyamoto through the urban landscape–because even if it’s a Western, it’s still set in a big city–to find the instructors. There’s Katô Yoshi, a former ramen-master burnt out, and noodle-man Sakura Kinzô. Wanatabe is around a bit. And Yasuoaka Rikiya is the guy who’ll be there for Miyamoto when the open road calls to Yamazaki and he abandons her, the shop, and the kid.
The kid who’s uncredited?
Anyway. It all works. It’s delightful. Itami falls back on broader humor whenever he wants to hurry a scene, but it’s fine. They’re good laughs, they’re just at the expense of character development. Itami, Suzuki, Tamura, and Murai do phenomenal work. And the actors are good too, but none of them get to do phenomenal work because no character development. Not even for an Audie Murphy Western much less Shane. Spoof and homage have definite limits.
They also kill a little turtle onscreen. So. I’m not down with that. I don’t want to talk about it, but, no. Uh uh.
Still, it’s a rather good movie.
Written and directed by Itami Jûzô; director of photography, Tamura Masaki; edited by Suzuki Akira; music by Murai Kunihiko; produced by Hosogoe Seigo, Tamaoki Yasushi, and Itami; released by Toho Company Ltd.
Starring Yamazaki Tsutomu (Gorô), Miyamoto Nobuko (Tampopo), Yakusho Kôji (Man in White Suit), Watanabe Ken (Gan), Yasuoka Rikiya (Pisuken), Sakura Kinzô (Shôhei), Katô Yoshi (Noodle-Making Master), Ôtaki Hideji (Rich Old Man), and Kuroda Fukumi (Man in White Suit’s Mistress).