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[andrewtverylegitimateblog]

Ring (1998)

If there's any particular form of political messaging or critique surrounding some aspect of Japanese society present in Ring, it is completely lost on me. Is Ring about the Japanese education system and its failure to provide intellectual liberation and how it instead functions to produce ideal workers for industrial society. Probably not. I severely doubt it. There's no way it could be. What I'm really saying is that Ring is a film that I engaged with as a piece of horror and not in any way outside of that, not that in any way that's a bad thing.

The story predominantly follows Reiko Asakawa, a single mother and journalist investigating a rash of bizarre deaths surrounding the viewing of a supposedly haunted VHS tape which kills whoever sees it after a week. Any doubt she has surrounding the veracity of these claims is quickly cut to pieces after the death of her niece and its connection to the tape. After finding a copy of the tape herself and viewing it, it's then watched by her ex-husband, and then her son. What proceeds is an investigation over the course of a week to learn the truth of the haunted tape, it's origins, and how to overcome the evil that lies within it.

I feel very strongly that as a piece of horror Ring lived up to the hype. What I personally appreciated most was the structure of the narrative. Ring as a story is rather decentralized. While everything emanates from a single source, the tape, the various mysteries that surround it are each respectively compelling and while they're concise they also leave considerable space for speculation and many unanswered questions. Something that's often frustrated me while watching certain American horror films is that the direction of the plot can tends towards the obtuse with long drawn out periods of mystery suddenly interrupted by long sequences focused entirely on the horror. The horror in ring is present throughout the film. The investigation surrounding the tape is punctuated frequently by visions or interactions with the forces that surround the tape. The, now iconic, main antagonist isn't even named till nearly halfway through the film. Sadako to me was an especially compelling antagonist, what seemed like simply a story of tragedy and betrayal enacted upon a young girl is revealed to be something deeper, a story of inhuman hatred drawn from a place of eldritch power.

I feel something should be made clear. Sadako can almost certainly be easily defeated. Yes, she can kill using a VHS tape bound to her hatred. Yes, there are ways that she's able to manipulate reality. And yes, her father may be an incomprehensibly ancient and powerful elder thing of the sea. However, she's a child. I have yet to be defeated by a child and would not no matter how much she crawls along the ground or stares at me very angrily.

Here's how I would defeat Sadako:

If I were say in Japan and found a mysterious blank VHS tape that I thought might be an episode of Lupin The Third and found myself suddenly cursed, my instinct would not be to go to the local library and start sorting through microfiche. The first mistake that Reiko and Ryuji made were trying to go it alone. I would immediately look for an Onmyoji in the local phone book since this is quite exactly their area of expertise. After agreeing to pay him in a crate of Captain Morgan's rum he would help divine for me exactly what I have to do, which if I had to guess would take me about a day and simply point me in the direction of the well. This would leave me with a good 5 or 6 days to try to sort out how to destroy a piece of private property in order to extricate some bones.

At this point I imagine myself and the Onymoji would be at a loss for what to do next so I'd start calling universities around the area and see if I could pick up on anyone researching the Ring phenomenon. After finding a nearby folklorist we'd show him the contents of the tape with his consent and full understanding of what would occur and then he'd suggest we pose as land surveyors to dig up the well on the property. We'd rent an excavator and dig up that bag of bones. While at this point 3 or so days would remain with Sadako free it would become clear that the curse still persisted.

The Folklorist reflecting on an internship spent interviewing the locals of Oshima island during his time in college would recall mysterious runes he saw carved into rocks facing the sea which the elders he met claimed to protect them and the island from whatever lurks in the ocean near their home. With this key piece of information in hand the final plan would come to be. On the last day while waiting for Sadako the Onmyoji would paint my body completely with the symbol of protection of Oshima Island and once Sadako emerged from the television the battle would begin. Her stupid glare wouldn't work on me (I'm not afraid of eye contact) so I'd pick her up and spin her above my head and then drag her across the dining table knocking off all the plates.

With Sadako enraged I'd flee the scene and a high speed chase would ensue. After 15 minutes of driving through sidewalks, blasting through red lights, and finally launching the car off a ramp I would arrive at Tokyo Bay. Sadako would attempt to go for a right hook but I'd dodge, I would then deliver my signature Ephemeral Destruction Paradise Reclamation Clothesline attack which with the power of the protective runes would cast out Sadako's evil returning it to the sea at Tokyo Bay. Now a regular teenage girl Sadako would want what any young girl long denied love and understanding and constantly shunned truly would: a shopping spree at the mall and a makeover.

After getting the leeches combed out of her hair and a new outfit we'd all go out to karaoke where we'd learn that Sadako's singing voice is incredible due to all the time she had practicing while stuck in the well. She'd be discovered by a record label and become a pop star with her hit single うしのどきBOOGIE. Out of thanks for everything she'd occasionally send me one of her royalty checks.

[onesemesterfilmstudentta]

DUDE I WISH I CAME ACROSS THIS WHEN I WAS DOING COMMENTS THIS WOULD HAVE BEEN THE HIGHLIGHT OF MY SEMESTER

[alexstudyjapanese]

Sukiyaki Western Django

The opening scene really set the tone for what the rest of this movie would be. Everyone dressed like cowboys, speaking in a prophet-like manner until everything explodes into violence, blood splattering against the vibrant backdrop. Also Quentin Tarantino is the main guy in this scene? I’ve watched Django: Unchained before coming into this movie so I was expecting some sort of connection or influence, but to have Tarantino appear as an actor was hilarious to me.

To be honest, I didn’t quite follow the plot of this film closely. A lone gunman comes into a town with a long-standing conflict. Luckily for me, it wasn’t hard to discern between characters in this conflict, as one gang is dressed in all white, and the other side is splattered in red. This is just one of the many over-the-top choices in this movie that makes it a fun, extravagant watch. A lone gunman pulls up into the town and decides to search for money.

A lot of violence ensues, it’s level ranging from somewhat grounded to absolutely batshit crazy. In any given battle scene, gatling guns may show up, something is bound to explode dramatically, and certain characters are given character introduction cards like they’re in a fighting video game. Blood is bright and abundant, but there’s also more serene shots that are either character-driven or peaceful shots of nature. The final battle scene features a sword vs. gun. In classic don’t bring a sword to a gun fight fashion, the swordsman is shot point blank in the face, but only after slicing a bullet with his blade.

One of my favorite scenes which highlights how strange this film is begins with a quitter moment. A wheelchair-ridden Emperor Palpatine lookalike who describes himself as an “anime otaku” speaks to another character in which he tries to pass on a message. The scene immediately cuts to a building exploding with some cowboys trying to calm the scene, to a woman shouting in the mountains, to one of the characters involved in an earlier conflict being treated for his injuries in the woods. There’s no predicting what will come in the next shot, making this film a ride from start to finish.

The funniest thing about this film was that the cast, other than Quentin Tarantino, is practically completely Japanese actors doing their best to speak English. Even the director, according to the internet, didn’t speak English, so I just wonder how this was done on set. I mean, I couldn’t imagine how difficult yet entertaining it would be to work on a project like this done in Japanese with only a few people who are truly fluent in the language. Overall, this was definitely a film I’m going to remember, but probably not much more than as the over-the-top Japanese Western filmed in English.

[onesemesterfilmstudentta]

I agree about that first scene! It sets up how strange and absurd the movie is in its appearance and conflict, especially the mixing of Japanese and Western aesthetics. I also found it hard to follow the plot through the movie but now I see it's like what you said! It's hard to predict what will happen scene to scene and that makes understanding the movie become something like understanding what's happened retroactively. Also side note, it was so hard to understand anyone in this movie even Quentin Tarantino! The group that stayed to watch the film in class scrambled to turn on subtitles and we suffered with that remote for so long!

[svereds-wise-words]

Sukiyaki Western Django

Taking Dr. Felts Samurai War Tales class really augmented my experience for this movie. In his class we watched Yojimbo and fist full of dollars (a western remake of Yojimbo), so watching this movie, which is packed full of references and over the top scenes relating to those movies in addition to Django was absolutely nuts.

I feel conflicted as to whether or not I liked this movie, because on the one hand it was funny, but on the other it was funny because it was stupid. Part of me feels like I wasted an hour and a half of my life watching some godforsaken abomination created by a couple of students who couldn't take their film class seriously, which is perfect, but on the other hand why am I watching this. As I'm writing this I'm laughing about the movie still, so overall a good sign I think, but man was this movie stupid (in a good way).

I like how unsubtle this movie was about its references. It directly quoted bits from other movies, calls out character references (for example when they say the gunman shouldn't try to pull a Yojimbo on them), and overtly pulls different pieces from all these different stories without mixing it up. When there is a reference, you aren't confused as to where it came from, assuming you know the movies its referencing in general.

On the other hand, in order to really enjoy this movie, you have to be really well versed in all of these different movies. The movie seems to be made for a niche audience who has scene Yojimbo, Django, Fist full of dollars, knows the tale of genji, and ideally a bit about the war of roses... and those are just the ones I could name off the top of my head. There could be even more references in there that I purely missed.

[onesemesterfilmstudentta]

I don't watch films very much especially not the action movies like Sukiyaki so I had no idea it was chock-ful of references from the movies you mentioned! I honestly enjoyed how over-the-top and absurd it was because that first scene seems to make every group in the movie equal and equally stupid. Something made to be absurd and leaning full-throttle into it appeals to the dumb in me I don't know. It probably helps that the movie does take the violence it shows seriously and is clearly against the idea of committing violence for greed or vengeance's sake (when everyone dies or refuses to become a parental figure for the sake of pursuing it).

[onesemesterfilmstudentta]

Spirited Away

It feels unusual to look at a childhood film with academic eyes but here goes nothing.

The way this film handles identity is really interesting to me! For Chihiro and Kohaku, this takes the form of names. By having your name forcibly taken from you or forgotten, you lose your sense of self and become vulnerable to other people. Not only do you lose yourself but you lose your home as well. Although signing the contract is essential for her to continue existing in the spirit world and find her parents, it also means giving away her name and sense of self. She now needs to keep safe her identity and keep a hold of herself as much as she can. To me, this also manifests as the need to be confident in one's self. Kohaku tells Chihiro she needs to keep asking for work and Chihiro does persist even when Yubaba is in her face. In other words, Chihiro must learn how to look confident, stand her ground, and remain dedicated to her goals. And she does the whole film through! Kohaku does much the same especially when he takes hold of himself again after the bug controlling him is squashed, revealing to Yubaba the disappearance of her precious baby. About the being unable to go home part, I'm not sure what to make of it but only that losing your name cuts your connections to your previous life. I guess in that sense you no longer remember home or where it is.

No Face is another example of identity too. Without a face, do you have an identity? Not only for us humans but the creatures of the film are each unique in some way. If not by face, then by personality but how do you express personality? Generally it is by speaking. No Face has no mask and constantly struggles to speak unless he's stolen someone else's voice (like the frog's). In that sense, No Face is unable to express his identity and therefore has no identity at all. Chihiro must interpret by his actions, by his few words, and by her own sense of kindness. The scene where she notices No Face following her to the bus, she asks him if he is and he doesn't really reply. But she is happy to use one of her tickets for him. I think that's why he gets along with Zaniba at the end of the film. She is also kind and gives him a home and good work to do.

Identity is also sort of tied to form at least in other people perceive someone's identity. Yubaba and Zaniba share an appearance so that Bo and Chihiro are caught off guard by Zaniba's appearance and actions. However, the two are so obviously different from each other. Chihiro must stand up to Yubaba but she is grateful and hugs Zaniba. Bo is spoiled by his mother but then stands up to her. He is at first bullied and taught a lesson by Zaniba but it is because of Zaniba that he learns to stand by himself and enjoy moving on his own four (two?) feet. Identity doesn't have to be set by one's form but it is dictated by one's name and one's actions.

Oh! And also one doesn't need to secure one's self alone. Throughout the film, Chihiro is always relying and being helped by people in order to get along in life. I do think that this film is part of Chihiro's coming-of-age journey but she does not become self-sufficient or independent and confident through her own efforts alone. She is grateful to Kohaku for all her help. It is he who tells her to remember her own name and he also remembers it for her too. And it is Chihiro, helping him in many ways in return, who remembers his name for him.

There is also an environmental message in the film. The most obvious example is Kohaku losing his name because his river was forced underground by humans. There is also a shot of the bathhouse too. From a side shot, we see that the front of the bathhouse is colorful, luxurious and bright. However, the back of it is dark and full of crude machinery. This should be just the same side that Chihiro had to make multiple dangerous trips through to get her job, go see Kohaku, and also return the seal to Zaniba. In other words, people try so hard to make things look pretty and structured but are just hiding ugliness behind it. Comparing Yubaba's beautiful, ostentatious palace to Zaniba's peaceful country home reveals how much more greedy and materialistic Yubaba is. Although… I mean Yubaba's hut is actually pretty luxurious going by country standards? Lots of space, cabinets, beautiful furniture… but it's a bit unfair to judge because how "frugal" or "minimalistic" should one be in order to not look greedy, huh?

[onesemesterfilmstudentta]

Sukiyaki Western Django

A really strange movie! Not only was the first set and scene we saw representative of how strange the entire movie is but also the themes and struggle of the movie as well. English voiceacting, Western cowboys within Japanese aesthetics (Quentin Tarantino, the cowboy clothes, the red sun and Mt. Fuji), the Genji and Heike war as well as the War of Roses in England are all gathered together in one location. It's an unusual mix of older time periods from America, England, and Japan. What's most unusual is that these aesthetics aren't clashing at all but are all being made fun of in some way and made equal in a way.

In the first scene, Quentin Tarantino directly compares the Heike and Genji war to the War of Roses. After reading Shakespeare and learning about the War of Roses (in which the red side won), Kiyomori changes his name to Henry to suit his desires. There is very little sense that the Japanese or Western aesthetics are meant to be at odds or totally separated. The head of the Genji even makes fun of the samurai way of life, seeing it as only for appearance's sake. This same head still brings a sword to a gun fight despite having shown great prowess at the gun earlier in the movie (when he's shooting Kiyomori). Rather it seems both Japanese and Western aesthetics are useful and tremendously cool. Our loner (and most of the Japanese characters) wield Western aesthetics and Quentin Taratino is an "anime otaku at heart".

The color palette of the movie also makes both red and white seriously stand out. All the blood in the movie almost sparkles especially when they're spitting it out of their mouths. The snow as the loner and Genji head are fighting at the end is also amazingly crystal-like too.

Returning to Kiyomori a little, it's interesting how his ilk are quickly outnumbered by the Genji over the film but not because the Genji are amazing at being murderers (well part of it is). It's that Kiyomori is using his own men as meat shields to save himself. At the end of the film, he keeps repeating "this time we'll win" but switches to "I'll win" just before he dies. He never cared about the Heike. He only cared about his own survival and his own victory. The Genji are incredibly similar too. In multiple scenes, the head shows he does not actually care about his men. When he is "teaching" a man to block a sword, he doesn't care if the man dies or not. He only cares about his fighting style, his ideal. If someone can't meet that ideal, they're not worthy of this fighting style and all they did was fall upon their "life of fighting". In other words, the Heike and the Genji are very much the same. Obviously, there is no good guy because good guys wouldn't rob a child of his parents.

In that sense, I find it hard to think that even the good guys of the film are really "good". I mean they're definitely NOT okay. It is absolutely true that from the moment Akira dies, that is the end of Heihachi's happy family. His mother turns to the Genji and hands herself over for the sake of killing Kiyomori someday. It's probable that Ruriko became Bloody Benten for the sake of vengeance as well, turning away her music. She even stops her peaceful life in order to die for vengeance too (for Akira's death). Of course the loner appears to be traveling through towns, getting himself involved in Heike and Genji fights just to sate his own thirst. Vengeance touches the hearts of every "good guy" we know and it robs them of any drive to be a true parental figure to Heihachi. That is why everyone leaves him behind at the end of the film whether they're dead or alive. Yes, war in its vaguest, most sinister form did infect them but it was also these characters' choice to go and die for the sake of their vengeance. Heihachi, whispering "love" to himself, might manage to turn out different from the adults in his life. After all, it's a little unusual when you compare the scene of the loner crying as a child just to shout in rage versus Heihachi crying while whispering "love".

But hell, I don't know what the meaning of "Django" is so who knows?

[onesemesterfilmstudentta]

Sweet Bean

I clap my hands. Wonderful, amazing! It's so funny to watch this after Pulse's tirade (the word lovingly used by me) about the epidemic of loneliness.

The found family aspect was wonderful to see emerge between Tokue as the mother, Sentaro as the son, and Wakana as t

he granddaughter. It is such a gradual realization confirmed finally in Tokue's last message to the two of them that was so sweet to hear. I think what creates this strong feeling of becoming family are the scenes of Tokue and Sentaro working together to create dorayaki especially when compared with each of them struggling to create dorayaki on their own and also the conversations Wakana has with each of them. To begin with, Sentaro giving Wakana the rejects is already a sweet gesture that implies they have a strong relationship. Furthermore, Wakana somewhat sharing a meal with Sentaro (especially when it's clear her mother has abandoned her to go find dinner on her own) and giving him advice about Tokue's employment feels a little like a consultation between family members. Of course Tokue giving Wakana advice about how to live her life freely and offering to take care of the canary was very sweet and grandmotherly.

On another note, the use of sound was kind of interesting? I mostly noticed it whenever Sentaro was walking up and down stairs. The heavy thuds of his depressed steps when we are first introduced to him as well as a similar after the dorayaki shop starts to crumble are so loud that it's unreal and emphasizes the sense that something is going wrong for him. Otherwise, the contrast between Sentaro carefully crafting his pancakes while the middle school girls noisily chatter in the background was seriously hilarious. The film is able to use sound in ways that set the emotional tone of scenes in interesting ways.

To end, the relationship between Tokue and nature is interesting especially when considering that quote from the book about leprosy. Those with leprosy/Hansen's Disease want to live in society "where the sun shines" too. Tokue listens carefully to nature and this way she is alone and lonely but surrounded by beautiful and noisy nature. The film shows us and lets us hear the sounds of the nature that Tokue loves so much throughout the film as well. It feels like nature is also society, that both are one and the same, and by enjoying nature we can also become part of society as well. The ending scene of all the people cherry blossom viewing and Sentaro setting up his own stall, calling out to them, might be representative of this as well. Everyone loves nature! We're all looking at the same moon!

[onesemesterfilmstudentta]

Pulse

I don't watch a lot of horror movies and most of the ones I do are tied to some awful evil or crime made incarnate as a monster. Sadako, Chuckie, and Jason are all examples of horror I'm used to. Therefore, the existential horror, the epidemic of loneliness, presented in Pulse was incredibly thought-provoking and closer to home in a way that makes it more terrifying. I admit I don't think I was touched by this movie as other people would be because of some unique experiences. Despite that, I genuinely appreciate how the film sensitively depicted the crushing despair and resignation that loneliness causes. Loneliness is both the creeping sense of total despair and fear of an inevitable future (whether it's true or not) and the depressing resignation - as if the world has just ended - as you decide it's totally hopeless. When I'm thinking about this film, I adore it.

Initially, I thought the screens depicting people wandering around their rooms or killing themselves were "ghosts" of people or memories they left behind that continue to haunt the living. This includes both the people who care about them and the strangers stumbling upon these relics of dead people. It's like seeing old forum posts from years and years ago and wondering where those people might be or if they're even alive. To see these screens, along with the "help me" plea, seemed just like cries for help and I don't think I'm entirely wrong. Everyone in the film, the best example being Harue who seems to have scrawled "help me" over the walls of her bedroom, want to be helped from their loneliness. They always fail to feel connected to someone no matter how much time they spend with someone else in person.

This failure to connect with people is obviously tied to technology in some way. In the beginning, Taguchi seems locked to his room. The mood change is instant when we move from what is a cloudy day outside, full of people and plants, to his room that seems like it's always night in there. The curtains are drawn, the lamps are on, and there's a coffee cup on the table that implies he's been living all-nighters every day and every night. Initially, I thought the film might have shown its hand too early: People seek the internet in order to connect with people because they can't reach people in the real world. It turns out that these connections are just as fake and in despair we flee the world of the living. Therefore, the true answer is that we have to grit our teeth and stay connected to the real world, you know? After all, you can't ever reach anyone by phone either and even if they answer, they can only ask for help without trying hard to receive it or they just shrug you off. Just like real life. Do you remember the boss of the flower shop saying something similar? Friends say wonderful things during the good times, with the best of intentions, and it only hurts the people they're trying to reach. That is, the message seemed exceedingly pessimistic not only about one's own effort to stay connected but also about technology. I'm… still not THAT wrong in the end.

That's why I feel conflicted about the possible reason for the disappearances was "ah, you see… the other realm is just overflowing with ghosts. It can't be helped, you know?" Not only does it sound like a conspiracy theory but it's one that turns out true as people disappear the world over. An actual apocalypse caused by ghosts! However, it does seem to tie in neatly with the idea that through technology, people (or in this case ghosts) take advantage of other people's loneliness. It's a common story. Catfishing is just one example.

About the real world crisis, the segment in which a TV is naming all the people who have disappeared hit me the most. Not only young or middle-aged people but the elderly and kids are named too. No matter the age or reason or past, loneliness can affect anyone. Loneliness is an epidemic. Of course I don't disagree. Just saying "we all die alone" is a terrifying statement generally and there are people who dream of dying surrounded by loving family. Not just loneliness but death too is a topic people feel strongly about.

That seems to be the core of Kawashima's narrative. Throughout the film, he refused to confront death to the point that he blabbered on about being able to live forever once people make a miracle drug to Harue. He doesn't want to think about death he says repeatedly. Then he is forced to confront death in that forbidden room, made to hear Death speak to him, and to touch it physically. That is, death comes for us all and we have no choice but to confront it. If we are lonely in life, we are lonely in death, Kawashima only got so far because he never seriously considered death and always ran away from it. I have to be honest. I think everyone in this film is a bit cowardly. No one confronted death properly but instead focused on their despair and fear. Depression is a serious issue and whether you're depressed or not it takes serious dedication to remain optimistic and dedicated to enjoying your life. It shouldn't matter if you're alone or not, if you're lonely or not, because life isn't just people. However, I admit that there is no one-size-fits-all, "proper" way to confront such an amorphous, unknowable thing. Anyone might say the world over just hit its limit and couldn't take the loneliness anymore.

[onesemesterfilmstudentta]

Ring

After hearing so much about the Ring, this was actually my first time watching it. It was really interesting! I don't know how much this film has influenced the horror genre but it was incredibly amazing to watch a genuinely enthralling ghost investigation unfold before my eyes. I grew up watching Let's Plays of the ghost investigation genre. As the deadline approaches, watching the characters scramble to collect clues and appease the ghost - while being spooked on the way - combines what I feel are some of the best parts of the supernatural horror and mystery genres.

Because I grew up with these narratives that came after the Ring, the ending really surprised me. Like the film, a lot of those narratives would discover the true origins of the ghost, sympathize with it, and then rush towards appeasing the ghost. Unlike the film, most of the narratives end there.

Why did the Ring reject the appeasement ending? Is it saying this kind of ending is pathetic and pointless? Maybe. Maybe it's saying because Sadako is a "monster", because she happens to be able to will people to death, because she is some mysterious creature born of a supernatural human and the sea, that she just curses people because she curses people.

I remember the scene where we watch the newspeople hurl accusations at Shizuko. Shizuko is visibly frightened and then she clutches her head in agony. Probably she is in pain because of all the relentless emotions and thoughts she can read running through all their heads. Then one of the reporters suddenly dies. Sadako's name is called, she is blamed, and she runs away from her harassers. Sadako killed what I think was the first person to accuse her mother and start the verbal abuse. I agree: Sadako's ghost curses anyone and everyone without reason. Sadako the human girl killed someone in unreasonable anger but also in reaction to someone hurting her mother.

Throughout the film we are introduced to other people with similar abilities to Sadako: Shizuko, who could read minds; Ryohei, who has visions of the past; Yoichi, who can talk to ghosts. It is Ryohei who hints at and tells us about the discrimination aimed at "others" like him. We see this in the previous scene I mentioned but also Ryohei snapping at his ex-wife at the inn as well. I do wonder if Ryohei and Yoichi are able to control their fear or have none at all might be because they've had to deal with supernatural happenings all their lives? In that sense, it's easier to sympathize with the "normie" protagonist to whom all of these scares are new. As an aside, there is still something pathetic about how it was Ryohei who guided and drove her through most of the investigation even in death. Anyways, in other words, all of these people are subjected to discrimination for something they can't control and constantly gets them in trouble. I think to myself, "What can possibly make up for a lifetime of pain inflicted on myself and the people I love? How could I forgive the people who made my mother kill herself? How could I forgive the man who killed me?"

It stands to reason then that, despite the protagonist bringing some kind of relief to Sadako's intense rage by finding her body, that this could never sate that need for vengeance in the end. I think it's also reasonable that her rage wouldn't end with the man who killed her but be aimed at a society that thought it was okay to harass a woman to death and kill a little girl just for being "other". At least to me, I read this ending as an extension of how the discrimination and violence aimed at minority groups can never be appeased or forgiven totally. Anger at the injustices done will haunt society forever and it's society's fault that this anger exists. What can be done to stop it… I suppose you can't really. But is it really that hard to think, "Maybe I'll just be nice to people no matter how "monstrous" or "other" they might be." Maybe we can prevent another Sadako that way. I was thinking this once the film started sympathizing with Sadako but this ghost girl is sick as hell. Full stop, I kinda can't disagree with her aggression or violence. I mean it's BAD bad but the revenge genre exists for a reason right?

Before this post spirals out of control, I do want to say it is something special when someone just standing there can spook me. Often the camera will linger on a character's horrified or surprised expression before showing the "horror" to us quietly (usually anyways). One example is the introduction of Sadako's grandfather. Both the protagonist and Ryohei look back in surprise and then it's just the grandfather standing there. More than anything, the film excells at creating an unsettling tone and maintaining suspense. The well scene is probably the best example because we know something horrible will happen at some point, nevermind the protagonist (mirroring audience's suspense or even looking up from behind our favorite plushies) peeking behind her every so often. I'm sure someone else can also shoot points off about the choice of music and sound effects as well!

I guess a last note is it's kinda horrific how Sadako doesn't even need to touch you to kill you. You just become so horrified of her existence, so scared of her bottomless rage, that you keel over on the spot, all twisted up. This shot doesn't even have that rage aimed at the audience but it's visceral knowing her history and how intently she looks down at Ryuji with such wide, venomous eyes.

[onesemesterfilmstudentta]

Swallowtail Butterfly

When I try to write about this film, there is so much I think about that I can't start at all. I think that I will talk about names. There are real names and then there are street names. There are names you are given from birth or names you give yourself or names given by other people. I don't know if names are a major theme of the story - something everyone thinks about given all the tragic and comic events we are given - but I am really attached to the idea of names.

Ageha and Glico have such a wonderful familial relationship. Like Rinki gave Glico her name, Glico gave Ageha her name. Glico is a candy that Japanese businessmen grow up sucking on, sucked on til it's all gone. Ageha is the name of the swallowtail butterfly that got squashed. In other words, like Rinki is Glico's older brother, Glico is Ageha's older sister. Therefore, through that familial connection, Rinki is also Ageha's older brother. Do you remember that scene when Rinki finds out Glico's wonderful career as a singer? He caresses the sick Ageha's hand and it isn't sexual. It kind of seemed like an older brother comforting his sick younger sister. He's reminiscing about his past with Glico and there is Ageha as an intermediary. This is what I think about when I think about how this film uses names. He didn't even know their connection until the end of the film.

Names, right? Why do Glico and Ageha's names have such a destructive aspect to them? I feel like there's some deeper meaning there I don't get.

People's names reveal something about them. Fei-Hong is Chinese (but a follow-up has to be asked! From Shanghai? Yes? No?), Arrow is an ex-fighter, Suzukino and Suda are obviously Japanese, and isn't there something a little bit odd about Rinki for a Japanese name? Glico sounds like a prostitute's name, doesn't it? Even nicknames are revealing! Don't you remember that back-alley doctor joking about calling himself Rock Doc? What a comedic personality! Names are people so who is Ageha when she didn't have a name in the beginning? Ageha's growth in the film probably starts from the moment Glico gave her a name. I think you could go into the aimlessness or confusion of an existence like that. She hardly spoke in the beginning, gets slapped and has to say she doesn't have a name, and scoffed at. After all, doesn't everyone have a name? The scene when Ageha is recalling a scene from the past while getting a tatto presents the question of whose memory it was: the butterfly or the girl's? Wasn't some of the 1st person views from the butterfly's perspective after all? Well, it might as well be both. She is called "Ageha" after all.

Anyways, I really like this movie.

[theukulelerabbit]

Hana-bi

This movie to me is worse than Cruel Story of Our Youth. I know that this is a crazy thing to say but it's genuinely true.

For me, I cannot stand it when a character just is able to get away with his actions no matter the consequences. Hana-bi is a story about a man who absolutely shows no character growth throughout the film and constantly is able to control the situation no matter what. He needs money - he goes to the loan sharks who give him the cash despite him being in debt. His friend just tried to commit suicide - he just goes and buys him all the things his friend said to him that one time on the beach. He gets surrounding by gangsters- no problem our boy can beat them up. He needs more money - no problem my boy robs a bank without any consequences. He wants to ring the big bell - he just goes for it and no monks come to tell him off.

Also he is so quick to violence, like yes I get it your wife is dying and you want to make her happy and the yakuza won't leave you alone but this is a clear character flaw. So much so that even the yakuza actively joke how cruel he can be by saying jokes like "he will keep shooting even when his enemy/he has run out of bullets" (i don't remember the exact line) and mentioning how he kept shooting the dead body of the guy that shot his coworker. We even get a flashback of him actively kicking the shit out of the corpse of his coworker's killer. Yes, he was sweet to his wife throughout the entire movie but that doesn't make up for how nasty he can truly be to others.

Lastly the silence in this movie absolutely killed me. But maybe that was done purposely. Our main character barely talked and his wife talked even less with her only line being "yes" when asks if she is sure she wants the photo just to be of herself. However, I don't feel like diving into the symbolism behind the silence as I wanna stop talking about awful movie.

[onesemesterfilmstudentta]

I absolutely agree that I don't like thinking about this movie much. The endless violence and gut punches come quick and hit hard especially at the end of the film! Although Nishi seemed in control, always quiet and decisive in his actions, I actually think he was losing control of himself from the start of the movie. Unlike Horibe, who was eventually able to express his loneliness and depression through painting, Nishi and his wife were never able to express their depression to other people. The deaths of their friends and loved ones remained personal and between them which is why they were only able to smile and laugh with each other. Everything Nishi did was in the service of a final happy trip with his wife before the two of them committed suicide. Is he really getting away with everything or or this him completely losing it?

[ym021]

Hanabi by Takeshi Kitano - Blog 18

The Japanese film, Hanabi, directed by Takeshi Kitano, is also known as “fireworks” for the English translation of the title. The main protagonist is Yoshitaka Nishi. He is a police detective and due to his wife’s illness, he retires from his position to be with her. When he visited the hospital to check on his wife, the doctor recommends Nishi to take her on a trip and talk to her more. After retiring, he loans money from the Yakuza so he can pay off their medical bills. He eventually pays off his debt by robbing a bank while dressed as a police officer and driving a police vehicle. Soon after, Nishi takes his wife on a road trip and spends time with her as much as he can. He takes her to a temple, a snowy area, and the beach. Unfortunately, he had to deal with a series of events along the way. The Yakuza boss wanted to charge him interest after he paid off his debt and sent members after him. NIshi was able to fend them off and due to the fail attempt by the Yakuza members, the boss comes with others to intimidate and threaten him in order to charge him interest money. This leads them to their death, as Nishi kills them in the car. In the end, Nishi is met by his ex-coworkers from the police department and the scene ends with two gun shots facing the ocean. 

My thoughts on this film are bittersweet. I enjoyed the film and I would rate it highest on my list in comparison to the old and new films we have watched in class. In the beginning, I was confused whether the scenes were showing the before and after or Nishi’s current situation. Eventually coming to understand how the film works, it allowed me to have a further understand of Nishi’s actions and what he has gone through as a police detective and husband. While watching, we learn that Nishi and his wife previously lost their child and both are affected by an emotional strain. It does not help that his wife was also diagnosed with an illness that seems to be terminal. Although the doctor does not reveal what her illness is, it is portrayed that her illness is shortening her life span. The film has brought a lot of sadness, sweet, and rough moments. I loved the interactions and how much Nishi shows his wife his love and care for her. The two scenes that stood out to me the most was the first scene of her taking his cake and giving him a strawberry. Seeing that made me smile, I found that as a cute, yet doing her best to uplift the mood interaction with her husband. The next scene would be Nishi guessing what card she had in hand. Despite the heartwarming scenes between the two, it was very sad to remember that she was slowly dying and all he wants is to stay by her and make her happy. 

[onesemesterfilmstudentta]

I also thought the relationship between Nishi and his wife was so sweet too! It's a little mysterious in the beginning when the two aren't talking to each other at all in the hospital room but as the film unwinds and we learn more about the two of them, their sweet consideration and playfulness with each other makes the film all the more tragic. Nishi may be the protagonist but the couple are the real focus of the film.

[theukulelerabbit]

GO

This is probably one of my favorite movies that we have watched so far. I have so much I wanna say but no clue how to start saying it.

Right of the bat I thought this movie was going to be some type of sports movie but then he started jump kicking people and then I was like - nope not a sports movie. And Im kind of glad it wasn't because I really like what this movie turned out to be. Of course, the best part of the movie was how it showed how labels placed upon us by others and ourselves affect the way we live and perceive the world. To our main protagonist what he defines himself as and what others define him as has never been an issue. Most of the time he is able to blend in and not be noticed by other Japanese, but during times he can't (such as needing to always have a residency card on him) he just doesn't let in the prejudice get underneath his skin. That is until he finally meets the love of his life. From the get-go he lies to her about what story he was listening to, as he was listening to story and instead tells her that he was listening to rap music instead - trying to come off as cool. This is something our main protag has never done before/ needed to do before has he has already made a name for himself through his fists. One of my favorite scenes in this film is the scene where the girl's father asks him what he thinks of Japan and our main protagonist replies with "no one truly knows the true meaning of 日本" as this line of thinking somewhat correlates with his own. 日本 is not just *the house of the rising sun* but also has been said to mean various other things. Nothing is simply what it is labeled to be - you need to look past the labels and see what it truly is. Sugihara doesn't truly see himself as South-Korean or Japanese or North Korean, he sees himself as Sugihara and that all that truly matters to him is that he is who he is.

This in turn makes the final scene so refreshing as a pulls up to school screaming "WHO AM I" not to himself but to his girl. He already knows who he is and is comfortable with himself however he wants his girl to see him the same way - for who he is as a person and not just a dirty korean.

[onesemesterfilmstudentta]

I also found that final scene incredibly refreshing! Through the film, we constantly see Sugihara not only be a "bad boy" and act out with violence but also be thoughtful and contemplative about the meaning of his violence and about his identity. Bringing up Sugihara's dialogue about the meaning of 日本 is just chef's kiss. I loved that final scene because we can tell that Sugihara is still questioning his own identity (saying maybe he's just a question mark - I think he literally says "question" in English) but in the end he is still himself. Starting the final scene with the "WHO AM I" question aimed at his love interest was a wonderful, aggressive, and perfectly Sugihara way to make her interrogate and face him as a person. Judging by her reaction, she did and that's why she was able to face him.

[svereds-wise-words]

Go - Yukisada

Go tells the story of a Japan-born Korean who runs into all sorts of turmoil with regard to his identity. In the beginning, we see the main character's (Sugihara's) father switch between his nationalities, giving very little weight to his national identity. He knows he lives in Japan, but chooses whatever nationality suits him best. Throughout the film, Sugihara's father, Hideyoshi (who played goro in tampopo), is kind of an asshole who plays to whatever works best for him at the moment. His choice form of punishment is beating down his son to the point of causing permanent physical changes to him (for example, Sugihara and the two teeth he lost due to his dad punching him in the face). Even when Hideyoshi recognizes he is wrong (when Sugihara is yelling at him after Hideyoshi's brother died), he still chooses to beat down on Sugihara and a full-on ring fight commences, announcer and everything.

His old ways of disciplining Sugihara and his old ways of thinking about race and identity are a key factor that separate he and his son. Sugihara and his ideals are those of the new generation, and he continuously has to battle with those of the old, whether it be when boxing against his father, or when he argued with Sakurai over idea's implanted into her by her fathers old way of thinking.

Repeatedly, we are told by Sugihara that this movie is about his love story, but more realistically, it's about his fight against the restrictions of identity, and the fixed expectations that come with said identities. He fights to try and be seen as an individual rather than a classification, and only succeeds after being raked through the coals by both Sakurai and Hideyoshi. It takes the fight with Hideyoshi for him to clear his head and hear Sugihara's plight, while Sakurai has to seclude herself from Sugihara to have time to contemplate what she has been fed all of her life. 

Personally, I feel like this movie not only appealed to audiences of the time, but still has a great deal of relevance today. Nowadays, it feels as if people are once again clinging to these ideas of identity and self-imposed segregation, and with this, people are becoming hostile towards those outside of their in-groups. It's extremely prevalent within politics, between democrats and republicans, where if you identify with one group, a hefty sect (albeit not all) of the other group will deem you as "the enemy" and as someone to convert. The movie helps to bring this idea that I am not simply the product of my parts. I am not simply a Korean and thus of tainted blood. I am an individual, just like everyone else, and should be seen as one. 

[onesemesterfilmstudentta]

I like how you look at the old versus new generation way of thinking! I didn't think about Sugihara's relationship with his father because I didn't understand it much. Not only is Sugihara fighting against the worldview of the previous generation but he's also pushing both old and new into a new way of thinking about zainichi and identity. I definitely agree that Sugihara's opposition to self-imposed segregation is an important and relevant idea to keep. What I appreciated most in his speech at the end was his confusion over his own identity and also his clear insistence that whether Korean, Japanese or zainichi, he was still him!

[onesemesterfilmstudentta]

Hana-bi

I banged my fists on the table at the end of this movie but I don't dislike or like this movie. Mechanically, this is a wonderful film! That final scene almost seems like heaven as Nishi and his wife watch a replacement for their lost child play on the beach on a bright sunny day. The camera pans away as Joe Hisaishi's music plays on serenely as if everything is going to be okay, seriously, really! And it's such a long pan out to a dreamy, blue sea. And then two gun shots ring out.

This film was obviously going to play out horribly from start to finish. I don't know if anyone could seriously take that last scene and think to themselves, "Wow! I hope things end well!" Was there a single doubt in anyone's mind that someone wasn't going to die on that beach or - even more - that Nishi and his wife didn't go on this trip so they could make some memories and die in a double suicide? Seriously? I didn't bang my fists on the table because I was grief-stricken. I banged my fists on the table and laughed because it was finally over in exactly the way I thought it might! Horrifically! Tragically! And what a final scene! Trying to seriously pretend that everything's okay when it seems nothing's been okay for Nishi or his wife for years ever since their child died.

This movie is quick to tell you what the characters have lost and what they will lose. Nishi already has a dead child and a sick wife. Horibe is soon to lose his family, status as a cop, and his legs. Within 20-30 minutes, the pieces are already set: Nishi feels the loss of his family, feels responsible for the death of one cop and the harm to two others, and doesn't have the money to cope with the enormous loan he took from loan sharks. Horibe is going to live the rest of his life, horribly lonely and only having his painting to help him express what he can't tell other people.

Before going to Nishi, it's interesting that Horibe's paintings constantly substitute animal heads and forms for flowers. The explanation behind these paintings seem to come from a couple scenes. In one, he explains that he can only paint what he sees (like remembering the family of three walking on the beach). In another, he is passing by a flower store and is inspired by the flowers he sees. We get painting after painting he will inevitably draw but there is one yellow flower that stumps him. The painting he creates, of an a woman and a young girl dancing in yellow dresses, is the only painting where the figures are turned towards the viewer and they actually have faces. Horibe is expressing his deep loneliness and desire to see his family again through his paintings.

What does Nishi express? When? He is deeply connected to his coworkers and to his wife. He smiles when they tell him good news (one of the cops is going to get married!) and he smiles and laughs with his wife as they play games together and joke around. And he instantly drops back into a face that is lost and seems to be looking at nothing when one of them mentions their dead friend or Horibe. That latter expression is exactly the expression that Nishi wears for most of the film. He is stuck in one flashback, the event that he was able to live through and become obsessed with, and it memorializes what Nishi lacks: self-control.

Nishi attacked the gunman and that led to the death of one friend and the injury of another. At this point, he already lacked control. I would not be surprised if it is implied that Nishi and his wife stopped talking much after their child passed. Both are so reticient except when Nishi has to speak or when the two are peacefully together. In that sense, both were losing their self-control together. This is why she was able to pack all their things and set out on the trip, why Nishi rang the temple bell, why they laughed like kids throughout the trip, and why they probably killed themselves at the end of the movie. Nishi's lack of self-control was easy to see: he smoked in the hospital, he was violent beyond necessity (shooting a dead body, killing yakuza, hitting that dude with glasses at the end of the film), and recklessly borrowing and spending money to send packages to the people he felt he hurt and also to go on a final trip with his wife. Everything Nishi did was in service of settling final debts and making memories before ending his life. The entire movie was just us getting to see the reason why!

When did Nishi express himself? Why? He doesn't! Not really! Not in a way that was keenly visible to his friends, not in a way that screamed 'Gosh, I really want some help'. You know what this film reminded me of? The American cop vigilante who deserts the force and becomes all-consumed by the idea of vengeance and justice, only to turn into the very monster he hunts, and then he gets put down or he puts himself down. We, the audience, simply get to see all the gorey, horrible reasons why and we can choose to condemn him or not, discussing the glorious ideas of justice and how to mete out punishment. Here's the differences in this film: Nishi isn't driven by vengeance but by guilt, shame, and the desire to follow his wife. Nishi didn't want to be saved and he didn't attack from a sense of justice. He killed, maimed, and committed crimes to suit his own needs or because he lost his temper. He was so deeply connected to his friends and it was that connection that ultimately doomed him. What would he even do after his wife died anyways?

Also, haha, fireworks are beautiful but fleeting and the lives of the characters are fleeting too! Ooo, Nishi and his wife have fun with fireworks and sparklers and Horibe paints flowers? Amazing! (I'm being sardonic but I do wonder if there are any other associations I'm missing? I guess Horibe painting flowers was a way of saying connections are fleeting but somehow he's still connected to his wife and daughter despite their being something like flowers)

Edit: I feel like I should probably add that the reason I don't feel much respect or sympathy for Nishi and Horibe (despite the very real emotions and trauma they have been through) is not just because the film tagged their tragedies from the beginning but also because they're cops. A very surface-level reason. Nishi is probably off the hook as I feel like the seed of his trauma comes from the loss of his child and his soon-to-be loss of his wife. These two people seem to be #1 in his life so I understand why he abandoned his friends to join her in the afterlife. Being an officer is simply a plot device to ladle survivor's guilt on top and give him a good reason to be a badass. On the other hand, Horibe accepted the risks of being a police officer and so being paralyzed isn't exactly so disgraceful. Admittedly, Horibe's story wasn't about being paralyzed but about his family leaving him. Being a cop also feels incidental in that way. Still, I was left with a horrible feeling that the movie wanted me to sympathize with cops (but the culture in Japan around cops is probably different, huh?).

I also forgot to say that Nishi made decent friends with that junkyard owner, huh? The parallel between these two (losing their temper) are definitely interesting and the owner encouraging him to commit a crime marks him as the only "friend" Nishi had in his new identity as a retired cop. The only one he really accepted it seems based on the scene where he smiles, REALLY SMILES, at the owner waving at him in the back mirror. No such treatment for his former friends. Again, Nishi had no regrets and no desire to be saved. Good for him! Maybe it was a happy ending after all.

[onesemesterfilmstudentta]

Go!

Great! I might have enjoyed this movie so much because it was not only more like the films I'm used to but also seriously comedic, serious, and romantic. Best of all, the film ended happily! There was such a cathartic sense of relief just hearing characters talk to each other throughout the film and especially in the final scene. I also switch between using Sugihara and Lee a lot!

First, the film has such an interesting "show, don't tell" technique. The technique introduces a concept or statement through narration first and then follow up with a scene that proves the truth to the audience. The best example I can think of is Jong-ll's introduction. Sugihara says this is the friend he respects the most. At this point, the audience has already seen a flashback in which Sugihara has already decided to go to a Japanese school and forego his North Korean identity. He has been outed by a friend and the teacher, outraged, is about to throw a chair at his hand. Forgetting what led into this scene, the audience is sucked back into the past as the teacher continues to abuse Sugihara. Suddenly, a voice rings out in Japanese! The film pans back to see Jong-ll lit up by a bright window, standing alone as the students back away from him. He does look like a nerd and he looks pathetic but that makes his rebellion more impressive. Of course, he gets beaten too. While giving us direction in Sugihara's narration, the film shows us one moment behind his respect for Jong-ll. At least, I was convinced why the two had such a great relationship. Funny enough, Sugihara respects Jong-ll for his bravery (and also introducing him to new media) but Jong-ll came to respect Sugihara first for his own bravery!

The film repeatedly comes back to this use of flashback that keeps evolving and shows us more of the people affected by Lee's bravery and justified anger. "3 years ago" the film says before it shows us the "Super Great Chicken Run". The audience, Lee's upperclassmen, AND Jong-ll are there to witness Lee's intense courage and will to keep running for his life. This is when Jong-ll is so inspired by Lee that he begins to become more brave too. However, the best example has to do with Lee's love story of course! The basketball scene, the very first scene, is flashed back to repeatedly over the film, I only realize this now but the first time this flashback ends, Lee is turning to look at something. We find out what - who - when we see this flashback for the last time from Tsubaki's perspective. His girlfriend is someone else who respects and loves his courage (in this case, his straightforwardness and ability to follow through) but also sees his silly side too. She stands strong against his shouts, hearing out the things she said that hurt him and also hearing the things that he's decided about his identity (I'm a question mark! A big x!). That forwardness is something she's already seen and likes him for! This is probably why, even though she said she was so scared the last time they met, this time she had the resolve to follow through like Lee.

The discrimination that Sugihara suffers is different from the discrimination many Americans face. There was still something horribly relatable about his struggle for identity inside and outside himself and his shouting at the end of the film touched my heart for that reason. The push-and-pull between nationalities and ethnicities; the insistence on others for Lee to pick a side and risk becoming a traitor or forced to become an "ambassador" (the binary represented by the two teachers in the North Korean school); being forced to drop one nationality for another because of the opportunities; people picking fights or calling you dirty/looking at you with contempt because of your identity - all these things are already topics of discussions for Americans and Sugihara bursting through all the delicate boundaries and feelings to just say, "I don't care! I'm a big question mark"? That was amazing. Not Japanese, not South or North Korean, rejecting all these identities at the same time but also being able to accept all of them, how Lee feels about his identity is complicated but at the end of it all is just "me!" I guess about Sugihara I feel the same way as Jong-ll and Tsubaki!

[svereds-wise-words]

Tampopo

Tampopo discovers the true depths and importance of food within the soul of every man woman and child. The film focuses on Tampopo, a ramen shop owner looking to revitalize her shop and really learn what it means to cook ramen. The movie goes through the motions showing the blood sweat and tears, and most important the dedication to study that one needs to truly master a recipe. It shows people's connections to food and how people from all walks of life come together to enjoy meals from the same place. One way the film did this was by bringing together the crew in this shot.

in this one shot you have people who are dressed as individuals from all different walks of life. Starting from the left you have Goro, who looks like he just came from the Australian outback and is on leave to Japan; Gun, who looks like he could be a painter or someone focused in the arts; Sensei who looks like a film director stopping in at his local ramen shop; Shohei, who appears to be a normal salaryman or office worker coming in a suit and tie; and finally, Pisuken who attire makes him look like a detective. In reality, they all have jobs that work to create Tampopo the ramen shop what it is, but their portrayal in this scene really helps to solidify the idea that food lovers come from all walks of life. It goes further in developing this idea with its interludes from Tampopo's life. There are several different people enjoying food in different ways around different circumstances, with criminal's and crooks, to lovers, to business men in fine establishments. It talks about the customs surrounding eating and how they differ between peoples. For example, when the foreigner's way of eating pasta is being studied, only to be revealed to be completely opposite to the way they were being taught.

Additionally the film explores the different relationships people have with food. Some just like to enjoy their meals around a bar while others... well... we all saw the scene where they were trading the egg yolk between their mouths.

Their sexuality surrounded food and it's thought to bring this kind of orgasmic reaction between the two of them. This goes to show the power food can have and the emotions and feelings it works to manipulate.

[onesemesterfilmstudentta]

I like how you focus on people from different walks of life all converge in Tampopo's ramen journey! I focused a lot on the reason why different characters popped up so much that I never thought the exact same thing happens in the main narrative. Seeing the cast part ways at the end of the film also gives a sense that food draws people together and gives them warm memories to keep even as those same people must part ways. It was seriously hilarious yet heartwarming that the ramen shop is what helped Goro and Ken become friends so that Ken is running after Goro's truck in the end. A great bromance!

[ym021]

Tampopo by Itami Juzo - Blog 16

Tampopo by Itami Juzo, is a Japanese comedy film that tells a story about a widowed women who owns a small ramen shop called Lai Lai. She meets a truck driver named Goro who saves her son from school bullies and comes in to eat her food. After hearing Gun’s advice on her ramen, she begs him to help teach her to cook proper ramen. He agrees to teach her and film proceeds to show a series of events of her learning, developing, and improving her skills. She meets plentiful of new people who support her journey. In the end, she meets her goal and Lai Lai is renovated and renamed to Tampopo with many customers in line waiting to have her food.

My overall thoughts on this film was interestingly funny, gross, and yet heartwarming. The opening scene of the man in the white suit was neat as he was looking and talking towards the camera, as if he was talking to the audience watching the film. Once the main protagonist was introduced, the widowed ramen shop owner, the story proceeds to be a heartwarming learning journey, but occasionally there were scenes that seemed completely off topic from the main plot. These scenes felt similarly to ads as they abrupt and were related to food as well.

 I found the first scene where a group of business executives visit a French restaurant for dinner. The executives ordered the same thing as the director, but there was one subordinate who orders a whole meal knowing the menu compared to all of them. This scene was very funny to me as each person, including the director, were red as an apple from embarrassment and looking down. 

The next scene shows an older man having a sweet time with his mistress. I thought it was going to be a normal sexual interaction for the couple…but behold. We ended up watching them make out by exchanging an egg yolk until it popped in her mouth. Eventually the man has an encounter with an oyster diver and their make out scene was just as disturbing to me especially with his bloody lip. This man definitely has an interesting fetish for food. 

Although not the last scene, I thought this one stood out to me as well. An older working man runs home to his dying wife, children, doctor and nurse. It was sad watching the man tell his wife not to close his eyes because he wanted her to keep living. He goes as far to shake her excessively and then he tells her to get up and go cook. I was surprised by this, but she immediately gets up and cooks dinner while struggling to keep her balance. After serving dinner to her kids and her husband, she smiles happily knowing they loved her cooking and she collapses. The doctor and nurse calls her time of death right away after checking her pulse. This was really sad moment. The father then tells his children to keep eating and cherish the last meal their mother made for them. They memorialize her through food, feeling the love she put in it before leaving them.

[onesemesterfilmstudentta]

Despite the title being Tampopo, there are so many other characters and perspectives on food that divert from her journey! It feels so odd to get what feels like a completely different scene and tone (like you mention the wife whose last act was to give her family a meal of love) but because food unifies all of these scenes, there's no real feeling of pointlessness. All the scenes you mentioned feature completely different characters and tones but each are enjoyable to not only watch but add to all the ways we might each think about food.