Tampopo (1985)

A truck driver stops at a small family-run noodle shop and decides to help its fledgling business. The story is intertwined with various vignettes about the relationship of love and food.

Director:

Jûzô Itami

Writer:

Jûzô Itami (screenplay)

Stars:

Ken Watanabe, Tsutomu Yamazaki, Nobuko Miyamoto

6 wins & 4 nominations.

Cast

Cast overview, first billed only:
Tsutomu Yamazaki	...	Gorô
Nobuko Miyamoto	...	Tampopo
Kôji Yakusho	...	Gangster in the White Suit
Ken Watanabe	...	Gun
Rikiya Yasuoka	...	Pisuken
Kinzô Sakura	...	Shôhei
Yoshi Katô	...	Master of ramen making
Hideji Ôtaki	...	Rich Old Man
Fukumi Kuroda	...	Gangster's Mistress
Setsuko Shinoi	...	Rich old man's mistress
Yoriko Dôguchi	...	Girl Oyster-fisher
Masahiko Tsugawa	...	Supermarket manager
Chôei Takahashi	...	Company executives
Akio Tanaka	...	Company executives
Yoshihei Saga	...	Company executives

Storyline

In this humorous paean to the joys of food, the main story is about trucker Goro, who rides into town like a modern Shane to help Tampopo set up the perfect noodle soup restaurant. Woven into this main story are a number of smaller stories about the importance of food, ranging from a gangster who mixes hot sex with food, to an old woman who terrorizes a shopkeeper by compulsively squeezing his wares.

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Plot Keywords:

waitress | ramen | food | noodles | breaking the fourth wall | 

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Taglines:

The first Japanese noodle western!

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Genres:

Comedy

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Certificate:

Not Rated

Details

Country:

Japan

Language:

Japanese

Release Date:

September 1987 (USA)

Also Known As:

Tampopo: A Ramen Western

Box Office

Opening Weekend USA:

$16,410, 23 October 2016, Limited Release

Gross USA:

$224,097, 10 February 2017

Company Credits

Production Co:

Itami Productions, New Century Productions

Technical Specs

Runtime:

114 min

Sound Mix:

Dolby

Color:

Color

Aspect Ratio:

1.37 : 1

Did You Know?

Trivia

Music played throughout the film includes Les Preludes by Franz Liszt. This was one of the theme songs of The Lone Ranger radio series (along with the William Tell overture and others).

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Quotes

Tampopo: What about your wife?
Gorô: She left with the kids.
Tampopo: Why?
Gorô: I don't know. I grew up in a miserable family, so I wanted to make my own home the warmest there was. I got married. We had kids. And we had a warm home. But I never felt comfortable there. I don't know how to act in a happy home. Before I knew it, my wife was gone... Maybe I'm just a cold-hearted guy.

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Crazy Credits

The entire closing credit sequence is a shot a woman breastfeeding her child; the camera slowly zooms in on the baby's mouth sucking his mother's breast.

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Connections

Spoofs Shane (1953)

User Reviews

The Wild Bunch at the noodle shop. Slurp!

There are any number of very funny scenes in this lightly plotted and highly episodic romantic comedy from acclaimed Japanese director Juzo Itami. You may recall him as the guy who got in trouble with the Yakuza, the Japanese "mafia," because they didn't like the way he made fun of them in Minbo no onna (1992). You may also know that he committed suicide at the age of 64 in 1997 after being accused of adultery. He is the son of samurai film maker Mansaku Itami. I mention this since one of the things satirized here are samurai films.

But--and perhaps this is the secret of Itami's success both in Japan and elsewhere--the satire is done with a light, almost loving touch. Even though he also takes dead aim at spaghetti westerns and the Japanese love affair with food, especially their predilection for fast food noodle soup, at no time is there any rancor or ugliness in his treatment.

If you've seen any Itami film you will be familiar with his star, his widow, Nobuko Miyamoto, she of the very expressive face, who is perhaps best known for her role as the spirited tax collector in Itami's The Taxing Woman (1987) and The Taxing Woman Returns (1988). She has appeared in all of his films. Here she is Tampopo ("Dandelion"), a not entirely successful proprietor of a noodle restaurant. Along comes not Jones but Tsutmu Yamazaki as Goro, a kind of true grit, but big-hearted Japanese urban cowboy. He ambles up to the noodle bar and before long establishes himself as a kind of John Wayne hero intent on teaching Tampopo how the good stuff is made. Along the way Itami makes fun of stuffy bureaucrats, macho Japanese males, heroic death scenes, Japanese princesses attempting to acquire a European eating style, movie fight scenes, and God knows what else.

The comedy is bizarre at times. The sexual exchange of an egg yoke between the man in the white suit (Koji Yakusho) and his mistress (Fukumi Kuroda) might make you laugh or it might just gross you out. The enthusiastic description of the "yam sausages" from inside a wild boar is strange. Surely one is not salivating at such an entre, but one can imagine that such a "delicacy" might surely exist and have its devotees.

Indeed an Itami film has a kind of logic all its own. An exemplary scene is that of the stressed and dying mother of two young children, who is ordered by her husband to "Get up and cook!" This (reasonably relevant) scene is juxtaposed with the one with the college professor which is about being and getting ripped off--which seems to have little to do with the rest of the movie, yet somehow seems appropriate, perhaps only because they are at a restaurant. Another typical Itami scene is the businessmen at supper. They hem and haw until their chief orders and then they all pretend to debate and consider, and then order exactly the same thing except for one brash young guy who dazzles (and embarrasses) the old sycophantic guys by order a massive meal in French with all the trimmings.

The climax of the film comes with plenty of musical fanfare. As Goro and others sit down at the counter, they are served Tampopo's final culinary creation, the noodle soup now hopefully honed to perfection. As the tension mounts, a musical accompaniment, reminiscent of something like the clock ticking in High Noon (1952), rises to a crescendo. All the while Tampopo sweats and frets and prays that she will triumph, which will be in evidence if, and only if, they drain their soup bowls! (Do they?)

The final credits roll (after some further misdirections and some further burlesque) over a most endearing and ultimately touching shot of a young mother with a beautiful and contented infant feeding at her breast.

Perhaps this was Itami's best film.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)