A childless middle-aged couple faces a marital crisis of sorts.
A childless middle-aged couple faces a marital crisis of sorts.
O Sabor do Chá Verde Sobre o Arroz, Der Geschmack von grünem Tee über Reis, Le goût du riz au thé vert, Flavour of Green Tea Over Rice, Ochazuke no aji, Вкус зеленого чая после риса, Flavor of Green Tea Over Rice
How Ozu makes a movie.
1 Tablespoon of Japanese music
A cup of Marriage
A Dash of amazing acting
And just for fun spice it up with a name that has nothing to do with the movie but makes you really want sushi
1. Mix it all together in a bowl of happiness
2. Put it in the oven on high for about 8 hours
3. Enjoy, for a bit of extra flavor, spice it up with about 10 scenes where the characters drink Sake
"It's enough. I'm glad you understand." So says Mokichi (Shin Saburi) to his wife Taeko (Michiyo Kogure) towards the end of The Flavor of Green Tea Over Rice—and that line right there not only summarizes Yasujiro Ozu's view of marriage as contingent on compromise and empathy, but also succinctly sums up the great Japanese filmmaker's complex, unsparing yet wise humanist perspective as a whole. Just when you think Ozu, after putting the Satakes' troubled arranged marriage under an alternately comic and dramatic microscope for about an hour and a half, is about to succumb to bitterness and cynicism, he surprises us with a scene overflowing with tenderness and love.
Without acceptance lies loneliness. Whether the initial passion was there or not, "reliability" is what inevitably keeps a marriage going. Someday the young ones will learn.
This is undoubtedly one of Ozu's greatest films. Even better a marriage-related effort than Early Spring! Both films can be regarded as comedies of remarriage. As great as Ozu's top tier works, Flavor of Green Tea Over Rice is about a wealthy middle-aged couple (beautifully played by Shin Saburi and Michiyo Kogure) who have marital difficulties, and their niece uses the couple's troubles as an excuse for not attending arranged marriage interviews. It's unmistakeably a film by the great Ozu. A number of Ozu's old motifs are here, including the clash between tradition and modernity. But here it's dealt with in a very complex fashion. There are no easy answer for anyone's predicaments. A masterpiece.
"The trick is a light touch."
The final 15min are everything.
Taeko and Mokichi, an estranged married couple from polar class backgrounds, fumble together in the kitchen, working for the first time as equals to make a humble meal of simple rice and pickled vegetables. Is this the first time they’ve ever made anything in the kitchen? (the maid usually takes care of everything, reinforcing the social ranks at play). They’ve been severely unhappy and uncommunicative with each other up to this point, owing much of their frustration to their arranged marriage and differing class values. Taeko, the spoiled daughter of a wealthy inheritance, has grown to resent her simple-minded, boorish husband. Mokichi, the lower-ranked “bone-head,” simply allows himself to get abused without changing his own…
"Cozy and down-to-earth, without ceremony and affectation" is how Mokichi Satake describes himself and how, from now on, I will describe the films of Yasujirō Ozu. He treats these characters like he personally knows them.
The Flavor of Green Tea Over Rice is one of Ozu's marriage-related films. This is the first Ozu film I've seen which directly deals with marriage and it's common pitfall : a lack of communication. Ozu is often bittersweet, sweet, but never outright bitter. A prevalent influence in his films is the war. Ozu's characters never got over the war, and rightfully so. War changed the way they view things and killed sons and husbands. But it turned strangers into acquaintances, forever bonded as platoon…
I hadn’t seen a sound Ozu since the middle of 2010, and I forgot how weird it is to watch one of his films, meaning if you are following the camera action and cuts and ignoring the drama on screen, it might be infuriating. Example: during the scene where the four women sing at the spa (Ozu’s Spa Breakers, anyone?), he cuts to an outside shot of the building, only to cut back and continue the song instead of fade out. Even just within the intimate two-person scenes, he’ll cut to another entire plane of action without warning or obvious cause. But this is Ozu’s main game, and he makes this work because he has a handle on our relationship…
The complexity between tradition and modernity that permeates Japanese society in the mid 20th century is one of the great themes that Ozu explores throughout his filmography. It is by examining everyday issues concerning family and relationships that he finds the contradictions and nuances of a nation that is in the midst of a reconstruction process. In Ochazuke no aji the director focuses his attention on the bourgeoisie and the institution of marriage.
Mokichi and Taeko are a middle-aged couple who have been married for several years; their union, as used to be the case in that country, was the product of an arrangement. With the passage of time, the relationship has grown cold and distant; he is a simple…
at film high school all the film bros call me a Nerd for liking slow boring Asian movies about Asian women learning 2 respect their husbands instead of epically bad ass Christopher Nolan movies. What the? Let's dunk this nerd! they say as they smash my copy of "the flavor of green tea over rice"
first ozu!!!!! i now feel sad and hungry! thanks a lot!
Ozu marriage stories are one of the best ones. He really hits you with his deep and truthful dialogues. I loved the cinematography and the use of shadows. Also, I got hungry watching this.
“...when the violets were in bloom.”
The rare Ozu where the hearts that finely shatter in slow motion across the film find themselves suddenly mending, together again, bound in Eucatastrophe and newfound devotion. The surface of endless repression that marks his stories, that guides the many families he’s given us to the bittersweet places of growth and no return, is severed, letting the dark things out and the sweetness of the light begin to set in. And the darkness here is a bitter kind, more potent and enduring than what Ozu would commonly portray, which renders the impossible tenderness that in characteristic turn marks the ends of his films, arriving here too, all the more miraculous, gracious, apart yet nearing along life’s horizon.
Very few filmmakers treat marriage with the respect and care that Yasujirō Ozu did. Here, even while navigating a cultural shift away from arranged marriages, he honors the institution itself in both contexts. Without any grand, intense conflict, he demonstrates an acute awareness of the little choices, attitudes, and reactions that cause rifts, the minor idiosyncrasies that both define a person and become the source of annoyance and frustration, and he forces the viewer to feel the alienation and despair as the relationship sours. In so doing, he shows an understanding of the push and pull on the youth who were wanting to break free of the limitations of arranged marriage.
Just as no man is an island, no marriage…
O Noboru (Koji Tsuruta) tem mais destaque na primeira metade, mas tem lá seu charme e carisma. A Aya (Chikage Awashima) tem uma expressão irônica muito engraçada, além de diálogos bastante divertidos. O casal Taeko (Michiyo Kogure) e Mokishi (Shin Saburi) atua muito bem, porém a Setsuko (Keiko Tsushima) é, de longe, a melhor personagem do filme. Desobedecendo regras machistas da família, se negando a ficar em casa o dia inteiro enquanto os homens ficam se divertindo, trancando o pé contra casamentos arranjados, a cena da plateia "masculina" assistindo a uma corrida, com apenas ela de mulher na arquibancada com um vestido preto deu um contraste incrível, além de ser um tapa na cara do conservadorismo da época. Detalhe para…
Another family drama from the master Yasujiro Ozu. This one deals with the question of what keeps the older marriages alive, those that were often prearranged. The childless middle-aged couple, after some incident, finds themselves in a marriage crisis. This couple is contrasted with a rebellious young niece who is against the arranged marriage and wants to pick her suitor. It is all wrapped in the unique Ozu humour and you are likely to find yourself with a smile on your face while watching the movie.
Is the marriage really a flavor of green tea over rice? I don't know, but this movie was certainly simple, yet quite enjoyable.
Nunca imaginei que iria me identificar com um personagem tão arrogante. Um filme que me fez pensar nas minhas próprias atitudes. Tão simples que é uma obra-prima.
Easygoing - Not as aesthetically or thematically interesting as the other Ozus I've seen, but still worthwhile. Interesting to see what's in essence a Matt Christman anti-gamer rant applied to pachinko this early on.
Ozu moves the camera slightly on a dolly, woah! 😱 slow down there speed racer.
“It’s the Flavor.”
- Flavor Flav
One thing I’m learning is it’s not so much ‘pick your battles’ as it’s just not letting little things bug you so much. Those little things ad up.
Ozu nos introduce de manera elegante y sutil, a la crisis de un matrimonio de mediana edad. A través de pequeños encuentros, conversaciones casuales o simples miradas, nos damos cuenta de las diferencias y sobre todo de la gran distancia que existe entre Mokichi y Taeko. De manera natural se no presenta cada situación, dando incluso oportunidad a instantes de fina comedia que aligeran el proceso. También somos testigos de la rebeldía de Setsuko, una joven que rechaza de manera tajante, la idea de que le arreglen un matrimonio, situación que incluso la ofende. Igual que la radiografía del matrimonio, aquí vemos como Setsuko confronta con mucha clase, simplemente poniendo sus puntos sobre la mesa y obedeciendo a su instinto y más que nada a su amor propio.
The old man doesn't die at the end, mostly because there aren't old men. While this one had fewer wonderful shots, it did have some saucey housewives, doin' it for themselves, and a bumbling bumpkin husband who is quite good. Also, pachinko and a surprise Chishu Ryu, who is doubly relieved over and over.
It's nice, like tea over rice.
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