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Movie Title: Tampopo Tampopo is available for streaming or downloading. |
…you will worship this movie for it explores (with hysterical results) why food becomes such an significant touchstone in life.
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Truck driver Goro and Gun are in search of some salubrious eats and hurry into a widow who is trying to speed a ramen shop. Unfortunately, she’s not doing too well so Goro and some unlikely guides offer her some record advice and succor her on her device to becoming a right ramenista. The narrative is punctuated with some vignettes about the “social aspects” of eating and our behavior with food.
THIS EDITION NOTES: This is a “no-frills” deal with the hold minimum of subtitle options and the movie’s recent trailer. Although Amazon is listing the zone playability as “unknown” the jacket lists it as ALL ZONES. It played on our former Zenith DVD player which can only handle zone 1 DVDs and nothing else. Narrate is friendly, but sound quality is terrible. However, its definitely worth the heed to ogle this incredible movie once again!
Buy,Download, Or Stream Tampopo! Click Here
This is on my top ten list of the funniest, most appetizing movies of all time. The main residence line is a loving satire of the “adult” western of the fifties – “Shane” in particular – where the hero drifts into town, helps the dreadful widow pick up her life together and beat the terrible guys, then drifts out again. Tampopo, the heroine, must originate the best noodle soup in town to overcome the villainous other noodle houses.
But what makes this movie amazing are the vignettes, both within the plot-line and outside it, that mingle food, sex, cultural hangups, life and death in hilarious and sometimes very touching combinations.
The movie succeeds not only because of its marvellous material and fair actors but also through estimable direction and cinematography. For example, the scene toward the raze where Tampopo & Goro are eating companionably in a restaurant: peep the camera movement from the food to the people; the positions of the actors conveying clearly the ambiguity of the relationship and their attitudes to each other; how at times Goro actually has his assist to the camera; the slit to the symbolic passing mutter, nicely understated; the whole scene is an example of effective simplicity in movie-making.
This movie is ultimately unclassifiable; it is itself, droll, shaded (sometimes both at once), ghastly, absorbing; but above all silly. I have never seen another film quite like it, and it stays in the memory like the best of Fellini.
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